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Digital Mini DV Mini DV Overview ...................152-155 Panasonic DV Camcorders ......156-159 Sony DV Camcorders...............160-165 Canon DV Camcorders ............166-172 Sony DV VCRs ..........................173-174 Panasonic DV VCRs ........................175 JVC Professional DV ................176-179 DVCAM Overview ....................180-185 DVCAM Camcorders ................186-195 DVCAM VCRs ...........................196-215 DVCPRO Overview ...................216-219 DVCPRO Camcorders...............220-225 DVCPRO VCRs ..........................226-235 Digital-S Overview ..................236-239 Digital-S Camcorders ..............240-245 Digital-S VCRs..........................246-249 Betacam SX Overview .............250-251 Betacam SX Camcorders .........252-254 Betacam SX VCRs ....................255-259 PHOTO - VIDEO - PRO AUDIO Professional Video The SourceBook Section 3 Digital Video Systems

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Page 1: P. 152-215 Digital Equipment - B&H Photo Video …Digital Mini DV Mini DV Overview.....152-155 Panasonic DV Camcorders.....156-159 Sony DV Camcorders ... power, economical integrated


Mini DV

Mini DV Overview ...................152-155

Panasonic DV Camcorders ......156-159

Sony DV Camcorders...............160-165

Canon DV Camcorders ............166-172

Sony DV VCRs ..........................173-174

Panasonic DV VCRs ........................175

JVC Professional DV ................176-179

DVCAM Overview ....................180-185

DVCAM Camcorders................186-195

DVCAM VCRs ...........................196-215

DVCPRO Overview...................216-219

DVCPRO Camcorders...............220-225

DVCPRO VCRs ..........................226-235

Digital-S Overview ..................236-239

Digital-S Camcorders ..............240-245

Digital-S VCRs..........................246-249

Betacam SX Overview .............250-251

Betacam SX Camcorders.........252-254

Betacam SX VCRs ....................255-259











Section3Digital Video Systems

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DV Technology

Amid all the hyperbole emanating from Panasonic, Sony and JVC about the pre-eminence of their profes-sional digital video format (DVCAM, DVCPRO and Digital-S), there is one undeniable fact — they allbegan, have since evolved, and are still, firmly based on the consumer DV format.

The rising tide of digital media is washing over videotape,the largest remaining use of analog recording technology,with some 300 million VCRs and 50 million camcordersworldwide. Along with the Digital Video Disc (DVD),whose world-wide standardization has been settled, thestandard for digital videotape uses a form of MPEG-2data compression.

Within two years of their introduction, there is alreadymore digital media recorded in these standards than allthe current digital video in non-linear editors, multime-dia CD-ROMs, and video servers combined. Andalthough similar, DVD uses non-editable Interframecompression (I, B, and P frames), while DV uses editableIntraframe (I-Frames) compression only.

A format with uncommonly broad international support,DV was the work of the HD (High Definition) DigitalVCR consortium that joined in late 1993 to develop thenext-generation VCR. It was apparent back then that digi-tal signal processing, compression, and digital transmissionwould revolutionize television, and VHS would no longeranswer the consumer’s needs. In response to this, the con-sortium set out to develop a single, ubiquitous format ofdramatically better quality. The collective expertise of theconsortium, originally comprised of ten of the world’smost powerful electronic companies (Sony, Panasonic,JVC, Hitachi, Sanyo, Sharp, Mitsubishi, Toshiba, Philipsand Thompson) produced the revolutionary formatknown as DV. The technology can be divided into a powerful compres-sion scheme that can be implemented in a cost-effectivechip set, a hierarchy of standards covering SD (StandardDefinition) and HD (High Definition), time-shift longplay, mechanism design, tape format structure and a fami-ly of cassettes. The key, though, was the compression.

The consortium’s careful analysis of all the possible trade-offs – compression artifacts, motion, data rate, subjective

picture performance, robustness, multi-generation perfor-mance – produced an optimum system with a hierarchy ofstandards for different applications and definitions. Forstandard definition, the signal structure is digital compo-nent 4:1:1. In addition to the widely recognized benefitof component transparency, by keeping the luminancecomponent at full sample rate, picture resolution is equalto all formats – even including D-1, D-2 and DigitalBetacam. By reducing the chrominance sampling rate tohalf, the absolute data rate was reduced, but chroma detailstill remained far better than S-VHS.

This compression scheme is a defined standard, as wasagreed upon by the consortium, which has since come tonumber 60 companies. It can be packaged in several low-power, economical integrated circuits, making compactfield equipment possible and allowing audio/videoexchange between equipment of various manufacturers. Itis also extensible to other signal structures, such as stan-dard-definition digital component 4:2:2 used by JVC’sDigital-S format. The bottom line is that DVCAM,DVCPRO and even Digital-S are basically “supersets” ofthe consumer DV format.

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e DV format uses 5:1 data compression tostore one hour of digital video in the compo-nent (Y, R-Y, B-Y) format on a cassette small-er than a DAT (digital audio tape). Imagequality is comparable to Betacam SP – untilnow the current standard for broadcasters,multimedia producers and non-linear editors.DV offers high image quality, digital (PCM)audio, freedom from analog tape artifacts anddropouts, and most importantly, lack of gen-eration loss. And compared to Betacam inprice, DV is an amazing bargain. Mini-DVcassettes are one-tenth the size, one-fifth theweight, a third of the cost, and twice the capacity of Betacam SP cassettes. The standard size DV cassette records 270 minutes of video, compared to the larger Betacam's 90 minutes. And like S-VHS, DV camcorders and VCRs have composite and S-Videooutputs for compatibility with analog equipment.

DV compression is a type of intraframe MPEG-2. It isDCT-based YUV 4:1:1 with 13.5 MHz luminance sam-pling. The video data rate is 3 MB/sec (5:1) compression,out of an overall 20 MB/sec data rate. DV contains a verysophisticated error correction code to eliminate the video“dropouts” of small format tapes.

Mini-DV cassettes come in 30 and 60 minute sizes.Standard-size DV cassettes, slightly larger than Hi-8 tapes,can record up 3 hours in DV VCRs that offer two morechannels of audio dubbing. The tiny two-head DV drum(the diameter of a nickel) spins at an astonishing 9000 rpm(revolutions per minute), five times the speed of NTSCrecorders and faster than Seagate Technologies’ 7200 rpmBarracuda hard disk drives.

Analog camcorders record video as a changing voltage witha virtually unlimited number of values. Digital camcordersconvert the analog video signal to a binary number, storingjust “0s” or “1s” on tape. Because of this, the DV system isnot affected by tape noise, inconsistent record levels andtape inconsistencies that plague analog systems.

While functionally similar to D1, DV does not digitize thehorizontal and vertical blanking and sync intervals. It onlydigitizes the 720 by 480 pixels of “active video”. D1 is 4:2:2YUV, and DV is 4:1:1. DV samples the luminance at theD1 rate, 13.5 MHz and samples color difference signals athalf the D1 rate (3.375MHz). This cuts the uncompresseddata rate back from 20.25 MB to 15.875 MB (162 Mbpsto 127 Mbps). It then compresses the video 5:1 to 3.1 MB.

Digital video deserves digital audio. Therefore, DV supportsfour different choices for audio recording. The 48k Hz, 16-bit mode captures two channels of AES/EBU digital audio;two channels of 16-bit at 44.1 kHz (CD sampling rate); alower rate of 16-bit, 32k Hz; the fourth mode at 12-bit,32k Hz to accommodate four channels of digital audio.The audio is organized by frames and grouped onto thevideo tracks. Audio Ch. 1 appears on tracks 0-4, Audio Ch.2 appears on tracks 5-9.

The DV format features 500 lines of resolution, componentrecording, and 54 dB S/N ratio — better than Betacam SP.Chroma bandwidth at 1.5 MHz is the same as Betacam SP,but three times the bandwidth of S-VHS. DV supportstime code, separate video and audio insert editing anddirect digital input and output, based on the IEEE1394standard for multiple video stream transfers and editingwith no generation loss. DV-compatible cards are availablefor Mac and Windows, to support non-linear editing, videoservers and LAN videoconferencing.

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Track layout on the DV cassette is quite extra-ordinary. Like their analog cousins, DV cam-corders record the digital signal to tape using

a helical-scanning system. Analog camcorders record aframe of video as two tracks in a helical scan patternmade by two rotating heads in the drum mechanism,one track for each field of video. The drum spins at1800 rpm for NTSC (30 frames per second, 60 timesa minute). When the tape is in pause, the spinningheads continue to read the same two fields of video.However, instead of the rotating head drum spinningat a speed of 1800 rpm and recording only two tracks(fields) for every frame of video, a DV camcorder’sdrum rotates at 9000 rpm. This means it turns fivetimes during one frame time, making ten helicaltracks. When DV is in pause, the current framecomes from a frame memory buffer. Each track hasan Indexing and Tracking Information (ITI) sector,an Audio sector, a Video sector and a Subcode sectorwhere time code and data codes are stored.

Between each sector are edit gaps, allowing the data for anindividual sector to be overwritten independently. Thisallows insert editing of video and/or audio separately. A sin-gle frame of NTSC is written as ten DV tracks. The tenDV video tracks do not contain successive sections of thepicture. As with a CD-ROM or a hard disk, the digitaldata for a single frame is “shuffled” and distributed witherror correction codes over all ten tracks. The informationis made highly redundant, so that a dropout in a portionof one track (very common in small formats like Hi-8, andDV is much smaller) will not prevent the error correctionfrom restoring all the data for the frame. In fact, DVdesigners claim that two whole tracks of the ten may belost to dropouts, and DV will still be able to construct thepicture. DV cassette error correction is like RAID level 5redundancy in hard drives, in which one of the five drivescan be disconnected, and all the data is still available. Theten DV audio sectors can divide into two sets of five, eachof which can record 12-bit stereo audio. 16-bit stereo usesall ten sectors.

ITI: This stands for Insert and Track Information, andincludes location information, track pitch, servo infor-mation and data called APT (application ID of a track).APT, which is repeated in all the four signal areas,defines the internal data structure of the track, forexample, whether it is consumer or professional.

ITI sector records signals for audio dubbing and addi-tional data for the camcorder itself. Since video andaudio signals are recorded in separate sectors, true video-only insert editing is possible.

Audio: The separate audio sector includes digital audio,audio auxiliary data and APT again.

Video: In addition to the compressed video data andAPT, the video sector also records auxiliary data, such asthe recording date and time, Focus mode, AE-mode,Shutter Speed, F-Stop and Gain settings.

Subcode: This sector contains SMPTE Time Code,absolute track number and APT. The absolute tracknumber is a unique, individual number for each track,expressed in a 23 bit code. The 23 bits are enough tospecify unique addresses for up to 7 hours and 46 min-utes of video, an index ID that allows quick searches forspecific scenes. It also records the PP-ID, IDs for stillpicture recording and playback (photo mode).

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CompressionOne of the key enabling technologies of the1990s is compression. Like most othervideo systems that use compression, DVuses Discrete Cosine Transform (DCT)technology. To make DV possible, its DCTimplementation was designed around theamount of data that could be contained oneach DV video frame track.

The first element in the process is known as “DCT Blocking andShuffling”. This is where the picture is divided into regularblocks of 8 x 8 pixels. All the blocks are grouped into macroblocks, each composed of four luminance and two color differ-ence blocks. Five macro blocks are then selected (“shuffled”)from five different areas of the picture. To improve the totalcompression efficiency, the five macro blocks are assigned priori-ties. Discrete Cosine Transform is then performed for eachmacro block, starting with the highest priority area and workingto the lowest. At the time of quantization, the amount of datarequired is estimated.

By estimating, the encoder identifies the macro blocks with morepicture detail, which need more data than the others. It is an advan-tage of the DV format that the macro blocks that need more data getmore data. This process is called “Variable Length Encoding”.

To fit on the tape, the variable length codes have to be placed intostandard-size 77-byte receptacles. In the “framing” process, the over-run bytes from the high-detail macro blocks are stored in leftoverspace in the low-detail macro blocks. In this process, DCT reducesthe data to be recorded. We started with 384 bytes of data (8 x 8 x 6DCT blocks). Each was then recorded in a 77-byte receptacle. Thusthe 5:1 compression ratio (77/384).

The DV format completely rewrites the rules ofvideotape access and control with an innovationcalled Cassette Memory. Under the DV specifi-cations, cassette memory is an option, up to amaximum of 16kB. Cassette memory enables

DV hardware to instantly read Table-of-Contentsinformation for fast random access to video clips.Some of the first applications, like Photo Indexand recording date, are already being used inconsumer DV camcorders

DV Tape Technology






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1/3-inch 3-CCD DV CamcorderThe very first camcorder to incorporate the DV format,the AG-EZ1 also features a 3-CCD pickup system andDigital Signal Processing to deliver a level of pictureand sound quality previously unimaginable in a unitthis compact. It features a high resolution 180,000 pixel colorviewfinder, 10:1 optical and 20:1 digital zoom lens with elec-tronic image stabilization, fully automatic – plus sophisticatedmanual – controls and a large LCD panel. Ideal for newsgathering, multimedia, or any other professional application.






DV Recording DV recording system delivers 500 lines of

horizontal resolution with virtually nonoise. Signal-to-noise ratio is 54 dB, animprovement of 6-9 dB over Analog sys-tems. (This represents an S/N ratio 2 to 3times better than existing cameras.) Alsoprovides frame-by-frame recording ofhigh-quality still images at 1/30-secondper frame, with built-in SMPTE TimeCode generator. (Time Code is recordedin the Subcode area.)

Uses Mini-DV cassettes which offer up to60 minutes recording time. These cas-settes can also be played back in the pro-fessional DVCPRO VCRs by using theoptional AJ-CS750 Adapter.

Subcode Recording The Recording Track System of DV also

allows recording of Subcode. The follow-ing data is recorded:

– Time Code, which allows precise andspeedy editing

– The Time and Date when the recordingwas made

– ID signals for quick and easy locating ofthe beginning of each recorded scene(Index ID)

– ID signals for quick and easy locating ofphoto shots (recorded Still images)

3-CCD Imaging Device Three CCDs with 270,000 pixels use a

double-density pixel distribution systemand a gapless dichroic prism to ensurerazor-sharp images and extremely faithfulcolors. Plus, each pixel has a large light-collecting area, giving the camera highsensitivity and a wide dynamic range.

Incorporates DSP (Digital SignalProcessing), including 3-D noise reduc-tion, gamma correction and knee correc-tion to ensure best image quality.

10:1 Optical/20:1 D. Zoom Equipped with 10:1 optical and 20:1

digital zoom lens. Both are adjustable infour speeds (3.5 – 15 seconds), based onhow hard or soft the zoom toggle ispressed. To set up a shot quickly, theTurbo Zoom function moves from tightto wide-angle, or vice-versa in under twoseconds, allowing quick framing. Forextreme close-ups, the lens can focusdown to 1/4˝ from the subject.

Fade-In and fade-out of picture andsound. Can also record in 16:9 format.

Digital Stabilizer Built-in Digital EIS (Electronic Image

Stabilizer) compensates for jittery videoand is particularly effective when the digital zoom is employed.

Digital Audio Audio is also recorded digitally, for

quality that rivals CDs. You can choosebetween two-channel 16-bit, 48k Hzrecording, or four channels of 12-bit, 32k Hz, with the second set reserved for uses such as narration.

In playback mode, the AG-EZ1 is com-patible with all four audio sampling fre-quencies of the DV standard.

Has a built-in stereo microphone andaccepts external microphones, as well.

Color Viewfinder High resolution 180,000 pixel color

viewfinder provides a clear and accurateimage with 400 lines of resolution. It alsodisplays all automatic and manual func-tions on demand. The viewfinder can tilt120° vertically, enabling you to shootsubjects from high or low angles.

Digital Still Shot Digital Still Shot allows you to record a

still-frame for six seconds, while audiocontinues as normal. Great for creatingvideo photo albums or insurance tapes, as290 still pictures can be recorded on asingle 30-minute tape and 580 shots on a60-minute tape. By using the TopScanfunction, any shot can be found easily.

Shown here with optional

SHAN-MC1 microphone

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Conveniences Large LCD panel on the side of the

camcorder displays camcorder statusand operating modes.

Automatic high-speed search of blanksections and sections where the record-ing date has changed.

Not only a great recording device, butalso a great playback machine. It offersFF/REW of up to 60x normal speedand recognizable picture search at up to10x normal speed. In addition, compos-ite, S-Video and stereo audio outputsare all standard, as is a 25-function,infrared wireless remote controller.

Two battery packs can be charged suc-cessively by inserting an AG-BP15Battery Pack into the AG-EZ1 andattaching either an AG-BP15 or BP-25to the AC Adapter/Charger.

Three features for finding previouslyrecorded scenes easily:

—TopScan plays back the first few sec-onds of each segment, providing ahandy way to review an entire tape.

—Record/Review rewinds the camcorderand plays the last 10 seconds of the lastrecorded scene – ideal for making sureyou got that important shot.

—Indexing function encodes the firstscene shot on a given day. This wayyou can quickly find the starting pointof each day’s shooting.



Optional Accessories

AG-BP15 90-minute Battery Pack(7.2v/1.25mAh)

AG-BP50 AC Adapter/Battery Charger

25-Function Wireless Remote Control

Multi AV Cable

Soft Carrying Bag

Shoulder Strap

49mm Filter Kit (UV, Polarizer)

0.5x Wide Conversion Lens

AY-DVLCLM Cleaning Tape

AG-BP25 Two-Hour Battery Pack(7.2v, 2.5mAh)

AG-CB50 DC Battery Charger /ACAdapter

SHAN-MC1 Microphone Kit

SHL-TPI Mini Tripod

AJ-CS750 Mini-DV Cassette Adapterfor playback on DVCPRO VCRs

Standard Accessories

Manual focus plus manual iris with a 13-step dial. An AE lock mechanism lets youshoot at a selected iris setting withoutbeing affected by changes in brightness.

Automatic gain and a 4-step (+3, +6, +9,+12dB) manual gain-up. Setting the gainindependently from the iris offers muchmore flexibility when shooting.

Variable high speed shutter (14-steps) from1/60 – 1/8000 of a second

4-mode white balance includes automaticsettings for fluorescent, incandescent andoutdoor as well as a manual setting.

Includes a high precision, minimal distor-tion 0.5x wide conversion lens and a49mm filter kit as standard. There is also acustom-made high performance micro-phone, the SHAN-MC1, available as anoption. Superb directional characteristicsmake it ideal for interviews. It can also beused as a hand-held mic.

Sophisticated Controls

VIDEORecording Format:

Digital Video (SD Format)Digital ComponentRecording

Tape Format:Mini DV

Record/Playback Time:60 Min. w/ AY-DVM60EA

Standard Illumination:4100 Lux

Minimum Illumination:5 Lux

AUDIORecording Format:

Digital PCM Stereo:16-bit (48kHz/2ch)12-bit (32kHz/4ch)

Audio Input:Mic In (M3):-70 dB,4.7kΩ or more, unbalanced

Audio Output:-10 dB,600Ω, loaded

Image Sensor:1/3˝ CCD Image Sensor x 3

Lens:10:1 variable speed power zoom lens f/1.6Focal Length: 6 to 60mmFilter Diameter: 49mm

Viewfinder:0.7˝ color LCD viewfinder

Power Source:Battery Pack: 7.2vAC Adapter: 8.4v

Power Consumption:8.8w (Record mode)

Weight:2.4 lbs. /1.1kg (w/o battery)

Dimension:53⁄4 x 413⁄16 x 11⁄16˝ (WxHxD)(144 x 121 x 267mm)


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1/4-inch 3-CCD DV CamcorderThe AG-EZ30 combines 3-CCDs and the DV format todeliver a level of picture and sound quality that makes itone of the most advanced camcorders of its kind. Weighingjust 1.5 lbs., this incredibly lightweight camcorder alsoincorporates a large 2.5˝ color LCD monitor, has a host ofsophisticated auto functions, offers full manual controlwhen required, and uses Mini-DV cassette tapes that canbe played back on DVCPRO VCRs with a simple adapter.

3-CCD System Three CCDs and DV format deliver supe-

rior picture quality with 500 lines of hori-zontal resolution and S/N ratio of 50 dB.Each of the CCDs has 270,000 pixels witha large light-collecting area, giving thecamera high sensitivity and wide dynamicrange. Also, double-density pixel distribu-tion and a gapless dichroic prism ensurerazor-sharp images and extremely faithfulcolor reproduction. The result is that evensubtle color differences, like between vividand deeper reds, are clearly distinguished.

Mini DV and IEEE1394 Equipped with IEEE1394 input/output

port for machine control, as well as digitalaudio and digital video transfer. The cam-era also offers a 5-pin control that is acces-sible through its docking station andallows basic transport functions via com-patible edit controllers.

Uses Mini-DV cassettes for up to 60 min-utes recording time. Cassettes can also beplayed back in DVCPRO VCRs using theoptional AJ-CS750 Adapter.

2.5˝ Color LCD Monitor Extremely bright, 180,000 pixel, 2.5˝ flip-

out active-matrix LCD display doubles as aviewfinder and as a playback monitor. Itoffers excellent direct viewing and flexibleviewing angles. The monitor can be posi-tioned at any angle within a 270° range.(Also includes a 0.5˝ color viewfinder).

12x Optical/Digital Zooms 12x (4.0-48mm) optical, as well as 30x

and 120x digital zoom. Move from wide-angle to full zoom in 1.3 seconds, allowingquick framing while in REC Pause.

The AG-EZ30 also incorporates anElectronic Image Stabilizer for clear, shakeand jitter free shots, even in zoom mode.

Manual Controls Large-diameter focus ring enables a high

level of focusing precision. A multi-func-tion push dial allows easy setting of the16-step iris adjustment, 5-step gain control(+12 dB maximum) and 14-step electronicshutter (up to 1/8000 second).

16-bit PCM Audio Selectable 2-channel 48k Hz/16-bit or

4-channel 32k Hz/12-bit PCM audiorecording. Has a built-in stereo micro-phone and can accept external mics.

Microphone sensitivity can be adjusted forrecording and audio dubbing. Mic levelscan be set in steps (-20, 10, 0, +3, +6 dB).

Digital Still Shot One touch of the Photo Shot button

records a high-quality sill image and sevenseconds of audio. One 60-minute cassetteholds about 500 stills in SP mode, 750stills in LP mode.

Three Search Modes Blank Search quickly finds the end of the

recorded segment, readying you for thenext recording.

Scene Search function makes it easy tofind the start of each recorded program ona video tape and allows you to previeweach indexed recording for a few seconds.

Photo Search makes it easy to find therecorded still image from the Photo Shotmode.

Controls Five-mode Program AE for shooting in a

variety of different conditions: Sports,Portrait, Spotlight, Sand and Snow andLow Light modes.

Automatic white balance with four modes:Indoor with incandescent lamp, Indoorwith fluorescent lamp, Outdoor and Lockmode. Also has manual adjustment.

Automatic and manual focusing, iris andshutter speed.

Still frame advance and slow motion play-back. Freeze the action during playback,advance the still picture one by one, playback scenes at one fifth the normal speed.

Zebra pattern indicator for adjusting pic-ture brightness to optimum levels.

Frame recording mode – pictures arerecorded as frames — vertical resolution is50% higher than in normal recording.

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P A N A S O N I CDigital Effects

Offers five digital effects: Wipe, Mix, Strobe,Gain-Up and Monotone

Wipe — Gradually replaces a picture of the lastrecorded scene with the picture of the newscene, like drawing a curtain.

Mix — Gradually fades out the picture of thelast recorded scene, while fading in the pictureof the new scene.

Strobe — Continuously records 6 still imagesper second, making the image appear to jump.Strobe effect can be increased by going to highershutter speeds.

Gain-Up — Electronically brightens up the pic-ture in low-light levels (down to 1 lux ) for clear,distinct images..

Monotone — Record without any color (B&W).

Tough and Durable High-strength aluminum die-cast chassis pro-

vides effective protection for the precisionmechanisms inside the EZ-30. A strong andsupple, yet lightweight magnesium alloy isused in the grip, providing sure protectionfrom rough handling in the field.

Supplied Docking Station Supplied AV docking station provides five

output terminals: Composite, S-Video, Audio(RCA x 2), headphone out and 5-pin edit ter-minal. The box plugs right into the AG-EZ30via a 36-pin multi-connector. Also suppliedwith a wireless remote control.


Recording Format:Digital Video (SD Format)Digital ComponentRecording

Tape Format:Mini DV

Record/Playback Time:60 Min. w/ AY-DVM60EA

Standard Illumination:1400 Lux

Minimum Illumination:2 Lux

AUDIORecording Format:

Digital PCM Stereo:16 bit (48kHz/2ch),12 bit (32kHz/4ch)

Audio Input:Mic In (M3):-70 dB,4.7kΩ or more, Unbalanced

Audio Output:-10 dB,600Ω, Loaded

CAMERAImage Sensor:

1/4˝ CCD Image Sensor x 3

Lens:12:1 Variable Speed PowerZoom Lens f/1.6Focal Length: 4 to 48mmFilter Diameter: 43mm

Viewfinder:0.5˝ Color LCD Viewfinder

GENERALPower Source:

Battery Pack: 7.2vAC Adapter: 8.4v

Power Consumption:20w (Record Mode)

Weight:1.52 lbs. (0.69kg) (w/o Battery)

Dimension:33⁄16 x 43⁄16 x 77⁄16˝ (WxHxD)(80 x 105 x 189mm)

Optional Accessories

AG-BP15 90-minute Battery Pack(7.2v/1.25 mAh)

AG-BP50 AC Adapter and BatteryCharger

25-Function Wireless Remote Control

DV Interface Cable

Shoulder Strap

Filter Kit

Wide Conversion Lens


Docking Station

AG-BP25 2-Hour Battery Pack (7.2v, 2.5mAh)

AJ-CS750Mini-DV Cassette Adapter for play-back in DVCPRO VCRs

AY-DVM30EA/AY-DVM60EA 30 and 60-minute Mini-DV tapes

AG-CB50 Car Battery Charger /AC Adapter

AY-DVMCLC Cleaning Tape

Standard Accessories

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Three CCDs with 380,000 pixels each forexcellent color fidelity and high S/N ratio.

Progressive Scan CCD provides high qual-ity still images by reading all of the pixelswith a single pass over the imager.Delivers clean edges and an overall sharperpicture for still images.

12x optical and 48x digital zoom lens

4-Lux minimum illumination

Super SteadyShot Stabilization system uses motion sensors to compensate forcamera “shake” without compromising picture quality. Also eliminates high fre-quency vibration for smooth video.

Manual focus and exposure, as well as manual shutter, white balance and gaincontrol.

Analog inputs let you record from Hi8 andS-VHS and master onto DV cassettes. Canalso playback DV tapes recorded in PAL.

Zebra pattern indicator for over-exposure,and a built-in color bar generator for assis-tance in properly adjusting your monitor

Interval and frame recording for SingleFrame recording and Time-Lapse effects

Crystal-clear Still/Slow Motion playback

Intelligent Accessory Shoe provides syn-chronized operation of lights and micro-phones, automatically.

LaserLink system provides wireless connec-tion of up to 16´ between the camcorderand TV (requires the optional IFT-R10receiver).

Built-in external mic jack and headphonejack for monitoring audio.

Records 12 or 16-bit digital PCM stereoaudio with a dynamic range of more than96 dB for superior clarity. Audio dub capa-bility allows you to add an additional 12-bit stereo track to your original recording.

Still Image Modes

Digital Effects Six digital effects allows you to get cre-

ative with your shots: Still, Flash Motion,Luminance Key, Slow Shutter, Trail, andOld Movie. You can also vary the levels ofthe effects.

Digital Audio/Video fader with fade toBlack, Overlap and Monotone. Also offerspicture effects like Slim, Stretch, Sepia,B& W, Solarization, and Negative Art.

Photo Mode uses Sony's Adaptive FrameInterpolation for better image quality.Store up to 700 individual still photos ona 60-minute cassette in LP mode.

Editing Control L interface and drop frame time

code for frame accurate editing.

Equipped with Sony’s i.LINK DV inter-face (IEEE1394) for bi-directional trans-fer and editing between another DV cam-corder, or the Sony DHR-1000 VCR orGV-D900 Video Walkman. The result is avideo transfer rate faster than through aserial/parallel port or SCSI connection –with virtually no generational loss. Thei.LINK interface also provides for directdigital communication between the cam-corder and a PC with DV capture card.

Index Titler offers custom titles (22 char-acters), 8 preset titles, 2 sizes, 9 positions,using 4k cassette memory found in selectSony Mini DV cassettes. Add or changetitles at any time.

Color bar generator displays color barchart to assist in properly adjusting yourmonitor for high quality playback.

Audio and Video

1/4-inch 3-CCD DV CamcorderWith the supplied Floppy Disk Adapter connected via its Type II PC card slot,the DCR-TRV900 combines superior quality digital video with theconvenience and versatility of still imaging that can be downloaded toa floppy disk or PC card. It also features Progressive Scan CCD, ana-log input, i.LINK (DV) interface, Super Optical SteadyShot and ahost of conveniences — all in a lightweight, compact package.

Memory mode lets you save captured stillimages to a floppy disc or capture imagesdirectly to an optional Memory Stick, orATA-type memory card via the camera’sbuilt-in Floppy Disc Drive/PC Card Slot.You can also automatically copy all of yourstill images from your DV cassette directlyto a standard 3.5˝ floppy disk.

Date/Time stamp automatically writes thedate and time to the file information.

Delete/Protect function – save your favoriteshots or delete undesirable ones.

Capture images in JPEG file format with achoice of three quality modes: Standard,Fine and Super Fine. JPEG images can beviewed on virtually any computer runningWindows or Mac OS. When images openon your computer, you will see large 640 x480, 24-bit colored detailed shots.

Continuous Record mode captures fourshots successively in just a few seconds.

Index Playback mode lets you preview sixthumbnails at a time.

Create a slide show of your favorite shots.

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‘MEMORY STICKS’ Recordable IC Memory CardsThe next generation of digital data storage and mediatransfer, the Memory Stick promises to bring togetherdigital technologies in a way no other storage mediahas. Smaller than a piece ofgum, the 64 MB card hasforty times the storage ofa standard 3.5˝ floppydisk, while providingthe ability to interfacewith and between apotentially endless arrayof audio, video and computer products.

MSAKIT-PC4A 4 MB Memory Stick Digital Data Storage/PC Card Adapter Kit.Includes :

MSA8A 8 MB Memory Stick ..................34.95

MSA16A 16 MB Memory Stick ................49.95

MSA32A 32 MB Memory Stick ................84.95

MSA64A 64MB Memory Stick ..............149.95

• MSA-4A 4MB Memory Stick

• Case and label for Memory Stick

• MSAC-PC1 Memory Stick PC Adapter Card

• Case for MSAC-PC1

LCD Monitor 31⁄2˝ SwivelScreen active matrix LCD

swivels up to 270° and can be adjusted tothe popular 'Mirror' mode. The LCDalso has anti-glare and anti-fingerprinttreatments which helps stop smudgingand promotes easier cleaning.

Built-in speaker with volume control.

Offers a precision 180,000-pixel colorviewfinder as well, for excellent viewingwhen the LCD monitor cannot be used.

Conveniences With the optional NP-F950 InfoLithium

Battery, you can record for up to eighthours. InfoLithium batteries also offerAccuPower power management, whichprovides you with continuous “remainingoperating time” – in minutes – on theLCD or in the viewfinder.

For point-and-shoot convenience, thecamera has a 5-mode program for AutoExposure that gives you the right settingsto assure proper exposure, shutter anddepth-of-field for the following shootingsituations: Aperture and Shutter SpeedPriority, Sports, Sunset and Low Lux.You can also manually control exposure,shutter and depth-of-field.

LP Mode lets you record 90 minutes ona 60-minute DV cassette.

A word about the DV (a.k.a. i.Link/Fire Wire/IEEE1394) Interface

Two simultaneous signals may flow at one time over a single connection.

Signal is bi-directional, meaning each DV device can be a player or recorderwithout changing the connection.

Up to 63 devices can be daisy-chained.

Audio, video and aux data is transferred using one cable – simple design,simple connection. Dub and edit between DV devices with virtually no picture quality loss

With the DV-equipped camcorder like the DCR-TRV900 or VX-1000, your options do not end with recording. Equipped with DV interface,you can output data as a digital signal to other DV compatible equipment. This means you can edit multiple generations with virtually no dete-rioration of picture or sound quality. And since the DV interface supports the IEEE1394 communications protocol, video and audio can bedownloaded directly into your hard drive.

VMC-IL4415 1.5m cable 4-pin to 4-pin connection ..39.95

VMC-IL4435 3.5m cable 4-pin to 4-pin connection ..59.95

VMC-IL4615 1.5m cable 4-pin to 6-pin connection ..39.95

VMC-IL6615 1.5m cable 6-pin to 6-pin connection ..39.95

Sony DV Cables

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1/3-inch 3-CCD DV CamcorderIncorporating advanced DV technology, the DCR-VX1000records over 500 lines of horizontal resolution, records colorusing a bandwidth that carries three times as much data asconventional analog cameras and has a higher signal-to-noiseratio than cameras costing ten times as much. To complement the video, the DCR-VX1000 also recordsaudio digitally, using PCM (Pulse Code Modulation), thesame technology used in CDs for a breathtaking dynamicrange of 96 dB. Most important though, since video andaudio signals are recorded digitally, you can copy or edit mul-tiple generations with no loss in picture quality. With the DCR-VX1000 analog tapeartifacts like color bleeding, dropouts and generation loss are all a thing of the past.

DV Recording Digital component recording samples

luminance at 13.5 MHz (same as D-1) torecord an incredible 500 lines of horizon-tal resolution and provide a wide 1.5 MHzcolor bandwidth.

3-CCD Camera System The DCR-VX1000 utilizes the same

advanced optical system as those used inprofessional cameras. It features a dichroicprism that divides the image into its sepa-rate red, green and blue light componentsand directs them to one of three CCDs,each with 410,000 active pixels. The resultis CCD imaging with over 1.2 million pix-els providing incredible color fidelity anddramatically improved signal-to-noiseratio. Also offers superb sensitivity of only4 lux minimum illumination.

10x Optical/20x D. Zoom Eight-speed 10x optical power zoom lens

goes from 5.9 to 59mm in 4.1 to 20 sec-onds. The manual zoom rocker is continu-ously variable right up to where the digital20x zoom kicks in. If you don’t want thedigital zoom, you can disable it in themenu. Manual focusing is also availablewith an accurate focus indicator in theviewfinder that actually tells you whichway to turn the focus ring.

Digital Effects Digital effects include audio and video

fade (to Black), Overlap and Slow Shutter.In Overlap mode, the last frame of thepreceding scene dissolves to the actionbeing recorded. In Slow Shutter, it is possi-ble to record in very low levels of light,albeit with MTV strobe-like effect.

You can make a Time-Lapse recording toautomatically record flowers blooming or asun rising. Recording time is selectablefrom 0.2 to 2 seconds and in intervalsfrom 30 seconds to 10 minutes.

Frame recording mode lets you make arecording with a stop-motion animatedeffect. Move the subject a bit, and thecamera will record four frames beforegoing into standby mode.

Time/Data Codes Records “Extended Data Codes” on a spe-

cial area of the tape. It automatically storesDate/Time, Shutter Speed, Iris, Gain andF-stop for easy recall. In the event youhave to reshoot, you have your originalsettings for every scene and frame.

Records Drop-Frame Time Code for accu-rate editing. When working with edit con-trollers, the time code is read as RC timecode (accuracy is ±3 frames).

Digital Audio Digital audio delivers high fidelity sound.

Uses PCM recording to achieve a dynamicrange over 96 dB.

Records 12-bit/32k Hz audio with twopairs of stereo tracks (L1/R 1, L2/R2),enabling you to add stereo music or narra-tion. (The VX-1000 can playback a pair ofstereo tracks recorded in 16-bit mode.)

Four-capsule microphone with two sets ofmics for left and right channels for clearstereo separation. They sit face to face toreduce wind noise and are mounted awayfrom the camera body to significantlyreduce mechanical noise pick-up. AudioDSP (Digital Signal Processing) providesadditional wind noise reduction, withoutharsh filtering to maintain audio quality.

Has automatic and manual (20-step) audiolevel record controls. This is important, asyou cannot record good audio withoutmanual audio gain. Monitor the audiowith headphones, or from the LCD panelwhich has an active VU meter with a redpeak light on top.

Audio and video are recorded on separateareas of the tape. You can add audio trackslater and insert-edit video without affect-ing the original audio track — true videoonly insert editing is now possible.


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Optional Accessories

Supplied Accessories





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Exposure Control Custom Preset function lets you preset,

store and recall your own custom settingsfor color intensity, white balance (bluishor reddish), sharpness, brightness andgain shift (0 dB/-3 dB).

Focusing, exposure and white balance areall automatic or can be manually con-trolled. Integrated Iris/Gain is adjustablein 20 levels, shutter speed is adjustablefrom 1/4 to 1/10,000 of a second in 16steps.

There are three Auto Exposure modes;Shutter Priority, Iris Priority and Twilightmode. In Twilight mode, night scenessuch as neon signs or fireworks can berecorded without color dropout.

Has a Zebra pattern indicator, just likethe professional cameras. This functionplaces black and white lines in theviewfinder where portions of the pictureexceed a a certain brightness level. Thezebra indicator is an excellent guide foradjusting shutter speed and exposure.

Built-in ND (Neutral Density) filter cutsdown the amount of light, allowing youto work in the middle of the camcorder’sf-stop range, even under bright conditions.

Color Viewfinder Precision 180,000 pixel color viewfinder

provides stunning details (over 400 linesof resolution) and is great for makingsure your white balance is correct. It alsoincorporates a separate information subpanel which displays time code, batterytime, tape remaining and other cam-corder functions, without cluttering upthe viewfinder.

Photo Mode A unique Photo Mode allows you to

record high quality still image pictureswith corresponding audio for up toseven seconds. Using Adaptive FrameInterpolation (AFI) technology, imagesare smooth and clear without jaggededges or “stair-stepping” – typical ofmost still pictures from video. You canplay back images on a monitor or printthem out with almost photographicquality using a video printer.


• LCH-VX1000 Hard Carrying Case

• HVL-20DW 20w Light

• NP-F730 Lithium Ion Battery Pack

• HVL-F7 Flash for Photo Mode

• VMC-2DV Digital Cable

• AC-515 World-Wide AC Adapter

• NP-F730 Lithium Ion Battery

• AA Batteries (2)

• RMT-803 Wireless Remote Control

• Shoulder Strap

• A/V Cable

• S-Video Cable

• DVM60 60-Minute Mini DV Tape

Built-in TBCBuilt-in Time Base Corrector (TBC) delivers jitter-free playback and dead-perfect stills. Alsoprovides powerful error-correction circuitry for perfectly clean picture playback, even when twoof the tape’s ten tracks are missing — assuring no dropouts.

Lithium Battery Technology Uses Lithium-ion batteries with no “memory

effect”. No more charge/discharge cycles —you recharge whenever you want to. Alsohas a Ready/Charge system that lets youcharge two batteries at once, one external-ly on the supplied charger and one inter-nally as it remains inside the camera.

Using a Sony NP-F730 rechargeable batterygets you up to 90 minutes of continuousrecording time. It takes 3 hours to chargean NP-F730 in the supplied charger and21⁄2 hours inside the camcorder. Two bat-teries can be simultaneously charged inabout four hours.

Additional Features Control L remote terminal for serial bi-

directional communication between thecamera and Sony editing systems and colorprinters.

Built-on square lens hood reduces externallight flare effect.

Magnesium body offers a very lightweight,yet durable shell.

Super SteadyShot Using a proprietary motion sensing sys-

tem, Sony’s Super SteadyShot reduceshigh frequency camera shake withoutcompromising image quality. Unlike otherstabilization systems, SteadyShot uses hor-izontal and vertical motion sensors thatallow it to work accurately while zoom-ing, moving (even shooting from a car),and shooting in low light conditions.

And because Super SteadyShot uses anactive prism and precision CCD imagers,your pictures remain superb – with noloss of detail or reduction in size. In fact, the effect from Super SteadyShotis so subtle, yet so critical to the qualityof your video, you will never want toshut it off.

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Marine Video Housing for DCR-VX1000Designed for professional underwater use, the VH-1000 is an aluminum housing for the

DCR-VX1000 that allows full use of camcorder functions at depths of 330 feet. Thehousing features electronic push-button controls, provides excellent underwater bal-ance, and has a unique design that makes camcorder installation easy.

Bayonet mounted, fully-coated, amphibi-ous wide angle (0.55X) conversion lens isvacuum sealed for maximum anti-fogprotection. The lens includes a squarelens hood complete with 3” x 4” filter slot.

16 electronic push-button controls,including: auto focus on/off, manualfocus, zoom in/out, standby, record, shut-ter speed, iris control, screen display,white balance, AE Program, review/edit/search, natural night mode. Alsoincludes video light controls.

Viewfinder features 2X magnification,adjustable focus and is tilted 20° for full-frame viewing through the face mask.

Amphibious 2-capsule electret condenserstereo mic adds dimension of sound tounderwater video. Works equally wellabove or below water.

Pistol grips are ergonomically designedfor cold water gloves or warm water use.

Bright green LED located on the righthand pistol grip flashes when camcorderis recording.

A probe installed into the lowest part ofthe housing sets off a flashing red LEDon the pistol grip if moisture is detected.

Has a compact underwater connector forconvenient plug-in of video output forexternal LCD viewfinder or surfaceumbilical viewing/recording.

Includes state-of-the-art Aquacolor #10internal flip and #30 external glass 3” x4” filters. The filters provide true under-water color and heightened contrast forsharper, brighter underwater hues.

VH-VX1000Video housing for VX1000 ............2495.00

VL-MP0135 Mini Pro Video LightsIncludes two video lights with 35w bulbsand two flexible arms ......................699.95

LA-PP0135 Mini Pro Power Pack For Mini Pro Video lights. Uses two NP-1B type batteries. ........849.95

VLA-L0025 25 Watt Arc LampUnderwater video light using arc lamps andelectronic ballast to produce 12-volt, 25-watt, 5200°K daylight color temperature.Includes connectors and flexible aluminumball joint arms. ..............................1599.00

LA-PP2550 Super Mini Pro Power Pack. For 25 Watt Arc lamp.Uses two NP-1B type batteries. ......1049.00

Equipment Leasing Available

Sony DV Cassette Tape

Sony’s Mini DV tapes are one twelfth the size of a VHS tape and have advanced, double-metal evaporated layers for higher output and lower noise. A proprietary DLC (Diamond-Like Carbon) layer protects both recording layers to ensure durability.

A special surface layer acts as a lubricantto reduce the friction between the tapeand drum, and as a rust-proofing agent toprevent the deterioration of the recordinglayers’ magnetic characteristics.

Back coating layer reduces frictionbetween the tape and the guide pins, pro-viding more stable tape movement.

The cassette incorporates a reel-lockmechanism to prevent tape damage.

The most unique aspect of the cassetteis the built-in Read/Write 4 kB memo-ry chip which stores the date and timeof Photo Mode images. With theinformation stored in the memorychip, you can then build a “TOC”(Table of Contents) of the tape thatcan be accessed to automatically locatea particular “Recording Date” or “PhotoMode” segment. The 4 kB chip stores 6record dates and 43 photo dates.

Sliding write/protect tab helps to preventaccidental erasure.

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VUIT Stereo VU Meter for the VX-1000 Calibrated display allows you to accurately see

Audio recording levels for reliable sound quality.

Tri-colored LED Bargraph lets you easily checkfor overloads.

Mounts onto camera shoe for ideal viewing.

Quickly and easily connects to the RCA audiooutput jacks on your camcorder. Also uses thecamcorders power – so no batteries are required.


DXA-4 Dual XLR Adapter for DV CamcordersThe DXA-4 offers an easy, reliable way to hook up professionalaudio gear to your DV camcorder — and with it, all thebenefits of using balanced audio for superb sound everytime. Record from two sources at the same time. Eachinput is recorded on a separate audio track, making it pos-sible for you to mix both channels during editing. You caneven feed a time code signal into one input and audio into the other.


Two channels let you record two sourceson separate tracks for post audio mixing.Both channels have their own mic/linelevel switch and trim potentiometers forflexibility and complete control.

Securely mounts to underside of cam-corder, eliminating cable strain.

Also has a threaded hole for mounting on a tripod plate.

Rugged all metal case is built to last andprovides complete shielding from noise.Made with Neutrik XLR connectors andtransformers for dependability you cancount on.

DXA-4 (for VX-1000) ..................189.95

DXA-4S (for TRV-900) ................179.95

DXA-4C (for XL-1) ......................169.95

DXA-4P (for AG-EZ1) ................179.95

EZ Adapter (for AG-EZ30) ..........169.95

CTLG# Description Price

DVM30PR 30-Minute ‘Premium” DV Tape 7.99

DVM60PR 60-Minute ‘Premium” DV Tape 9.99

DVM30EX 30-Minute ‘Excellence’ DV Tape 11.99

DVM60EX 60-Minute ‘Excellence’ DV Tape 13.99

DVM30EXM 30-Minute ‘Excellence’ with Memory Chip 12.99

DVM60EXM 60-Minute ‘Excellence’ with Memory Chip 17.99

DV120ME 120 Minute Standard Size DV Tape w/Chip 24.99

DV180ME 180 Minute Standard Size DV Tape w/Chip 26.99

DVM12CLE Head Cleaner for DV Camcorders 14.99

DV12CL Head Cleaner for DV VCRs 24.95

Cassette Lineup

EXM Series (DVM-30EXM, DVM-60EXM): Sony’s bestDV cassette. Has a 2 dB higher carrier-to-noise ratio–idealfor LP recording. Includes 4kB memory chip.

EX Series (DVM-30EX, DVM-60EX) has the same perfor-mance as the EXM series but without memory chip.

PR Series (DVM-30PR, DVM-60PR) more economicalpremium tape, unsurpassed in durability, shedding anddropouts. (No cassette memory).

MEM Series (DV-120MEM, DV-180MEM) standard-sizeDV tape for DV VCRs like the DHR-1000. Includes 4kBmemory chip.

Sony DV Cassette Tape

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3-CCD DV Camcorder with L-Series Fluorite 20X Zoom LensSetting a new price/performance benchmark for prosumer-type camcorders, the GL-1 offers unmatched optical technology for superior image quality andshooting versatility. Building on Canon’s expertise in 35mm photographic andbroadcast TV lenses, the GL-1 is equipped with Canon's exclusive L-Series Fluorite 20X optical zoom lens for outstanding imaging power ina lightweight, portable design. In addition to being the world's firstmini-DV camcorder equipped with a L-Series Fluorite lens, the GL-1also incorporates a 3-CCD imager, 20X optical and 100X digitalzoom, 2.5-inch LCD color monitor, DV (IEEE1394) input and out-put and a host of other features and functions that give it the function-ality of a professional camcorder —making it ideal for newscasters and independent film makers.

3-CCD Image Sensor With 3-CCDs, the GL-l maximizes the

capabilities of the DV format. A beamsplitting prism precisely separates thelight passing through the lens into indi-vidual color components—red, green andblue, and each color is sent to its ownCCD. In addition, Canon employs PixelShift technology, a signal processingmethod used in broadcast TV cameras.The CCD sensor in the GL-l includes270,000 pixels, however, using Pixel Shiftthe GL-1 rivals the resolution of cam-corders using CCDs with 410,000 pixels.

Pixel Shift Technology The green component of a video signal

contains 60% of the picture detail, thered and blue components comprise only40%. In Pixel Shift, the green CCD isshifted the equivalent distance of 1/2pixel from the red and blue CCD. Thegreen signal is then sampled more fre-quently to extract the maximum picturedetail from the video signal. Also, becausethere are fewer pixels on the CCD, theyare larger in size and thereby gather morelight. The result is improved dynamicrange where detail is clearly visible inhighlights and shadows without annoyingcolor noise.

Outstanding Combination With the combination of 3-CCDs, Pixel

Shift technology and the L-Series FlouriteLens (see below) the GL-1 achieves out-standing picture detail, sharper stills,reduced vertical smear, accurate colorreproduction and wide dynamic range.

L-Series Fluorite Lens Canon has satisfied the demands of expe-

rienced image makers for years throughthe power, design and quality of their35mm and broadcast TV lenses. The pro-fessional L-Series lenses utilize Fluorite, amaterial which provides outstanding reso-lution, contrast and color reproduction,especially in lightweight, high-magnifica-tion lenses. Now incorporated into thelens on the GL-1, Fluorite delivers theultimate clarity and image quality.

The Fluorite element inside of the lensdefeats color aberration - the effect whencomponents of light stray from oneanother within a lens, causing a reductionin sharpness, contrast and color. TheFluorite lens precisely controls compo-nents of light providing an excellent bal-ance of these three critical ingredients ofpicture quality. This is unobtainable withconventional optical glass.

Optical Image Stabilize Canon's superb optical stabilization sys-

tem eliminates image shake due to a widerange of movement and/or high windconditions. It corrects camera shakeinstantly so even hand-held shots, at fulltelephoto, and shots taken from a movingcar, are smooth and steady. And since it isoptical, there is no loss of image qualityas with electronic image stabilizers.

A perfect complement to the high picturequality of DV, the stabilizer employs aunique Vari-Angle Prism within the lensto optically compensate for camera shakebefore light reaches the image sensor,resulting in smooth, steady video withoutdegradation.

20X Optical Zoom Lens With a 35mm focal length equivalent of

39.5 to 790mm, the 20X optical zoomtransforms distant subjects into crisp, dra-matic close-ups. The GL-1 also offers adigital zoom extending between 40X –100X. At full telephoto it offers a tele-scopic 35mm equivalent of 79,000mm.An optional wide converter is also avail-able. Using the WD-58 wide-converter,the field of view will increase by 0.7X(28mm in 35mm focal equivalent) forindoor shots or panoramic views.

The GL-1 allows you to shoot outstanding video even under the toughest conditions. By combining the most advanced technologiesin lenses and signal processing with manual controls and features, the GL-1 achieves a perfect balance of amazing picture qualityand performance versatility. Do all the things the pros do with the Canon GL-1.

We are on the web at: www.bhphotovideo.com

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Audio The GL-1 offers two selectable audio

modes; 16-bit produces CD quality twochannel sound on one track. 12-bit modedivides the audio track into two, record-ing two channels on one track while leav-ing the remaining track open for postproduction audio recording.

Includes a directional accurate micro-phone. Newly developed, the mic incor-porates two pairs of pick-up elementseach for left and right. This arrangementrealizes a superior directional ability andfuller, richer stereo sound that must beheard to be believed.

Professional Functionality In addition to the side hand grip, the

GL-1 features a top carrying handle com-plete with a duplicate set of recordingand zoom controls. Now you can accom-modate your individual shooting style aswell as make mid to low angle shootingcomfortable and easy.

2.5˝ flexible LCD monitor makes it easi-er to compose shots from any angle. Itswivels and flips for maximum handlingand comfort and flexibility. It also tucksaway when bright shooting conditionsrequires the eyecup viewfinder instead.

Three Shooting ModesThe GL-1 incorporates three recordingmodes to fulfill virtually any imaging need:

—Normal Movie mode (full motion video)delivers more than 500 lines of resolutionfor superior image quality

—Frame Movie mode allows you to recordhigh-speed action at 30 frame images persecond for the purpose of extracting highresolution frame video. Images can thenbe displayed, printed or digitized.

—Digital Photo mode, with self timer, cap-tures more than 700 remarkably clearstill frame images on a single 60-minutecassette in SP mode. Each still frame pic-ture is recorded for approximately six sec-onds to ensure the best possible imagequality.

For SLR-style flash photography, the dig-ital photo mode will accommodate aselection of Canon's speedlight flashes,including the 220EX, 380EX or 550EX.

Full Auto Green Zone—Controls all camerafunctions and simplifies use by restrictingthe operation of manual controls.

Auto Mode— Handles all camera settingswhile also letting you choose the function orfunctions you would like to control manuallysuch as focus, exposure and white balance.

Manual Mode— You control the apertureand shutter speed together—27 shutterspeeds from 1/60 sec to 1/15,000 of a sec-ond, and 23 aperture values with half-stopadjustments from f/1.6 to closed for precisebrightness and depth of field control.

Spot Light— Prevents the subject from beinggrossly over-exposed when illuminated byintense light sources, like under spotlights ona dark stage.

Sand & Snow—Prevents subjects from beingunder exposed against a bright background.

Shutter Priority/ Aperture Priority—Simplify capturing fast-action or controllingdepth of field. Select one of 9 shutter speedsfrom 1/60 to 1/15,000 of a second, or selectone of 12 apertures from F1.6 to F11 andthe GL-1 will set the most appropriate shut-ter or aperture for proper exposure.

Camera Sharpness: Adjust the range of pic-ture sharpness to your preference beforerecording. Softer compliments the subjectwhile sharper will make details more visible.

Color Phase: Adjust the color tone towardsred or green to your liking.

AE Shift: Gives you control over how dark orlight the camera sets the auto exposure level.

Exposure Controls

Can accept an analog video signal from aand record it to DV. Great for makingcopies or archiving precious originals

Equipped with a DV (IEEE1394) interfacefor connection to a DV compatible com-puter for non-linear editing.

A/V Insert lets you insert new scenes ofvideo from your VCR or other camcorderon to a tape recorded in the SP mode.

Audio dubbing function lets you add nar-ration or stereo sound to a recording madein the 12-bit audio mode

Creative ControlsIn addition to the standard fade to black, the GL1 includes digital effects to create a moreappealing look. These include Monochrome, Slim, Stretch or Strobe motion. The GL-1 also gives you advanced control of picture quality with these three functions:

Seven recording controls (Programmed AE), easily ensure great results in various conditions .

White balance can be set for Automatic,Preset Indoors, Preset Outdoors and Set(custom) for any lighting condition.

Zebra pattern indicator reveals areas ofoverexposure using diagonal stripes toguide you when setting exposure.

Recording and Editing Functions

GL-1 Standard Kit Includes:

BP-915 Battery Pack

CA-910 Compact Power Adapter

DC-905 DC Coupler

SS-650 Shoulder Strap

WL-D73 Wireless Controller

S-150 S-Video Cable

STV-250N stereo video cable

DVM-E30 DV Cassette

Lens Hood.

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3-CCD DV Camcorder with Interchangeable LensesThe XL-1 combines Canon’s exclusive interchangeable XL Lens Mount System and supe-rior optical technology to offer video producers and semi-pro videographersunmatched image quality and shooting versatility. Acknowledged asthe most professional type of the DV class, the XL-1 earns this dis-tinction based on its combination of features and design, and to theunprecedented amount of manual control it offers. Whether on the lens or camera body, these controls allow the widest arrayof adjustments for a great variety of imaging possibilities. Additionally,the XL-1 was designed to overcome operational limitations and to com-plement most users’ preferences. Whether your subject is near or far, in astudio, in daylight or low light, the XL-1 delivers outstanding magnifi-cation, resolution, color reproduction, and high S/N ratio.

Interchangeable XL Lens Mount System

Proprietary interchangeable XL LensMount system provides unsurpassed flexi-bility, superior range and opens up adynamic world of imaging perspectives —ranging from extra wide to super telephoto.Designed for the performance requirementsof a 3-CCD system and the maximumpotential of the DV format, the XL lensesincorporate the highest quality multi-coat-ed optical elements to achieve 600 lines ofhorizontal resolution. By exceeding the DVformat resolution, the lenses deliver greatervisual “sharpness” through its higher sensi-tivity in the all important 100 to 250 TVline resolution area. The lenses also inte-grate high speed driving motors for fasterresponse of the internal auto-focusing sys-tem and variable zoom speeds.

In addition to the included 16:1 lens, the XL-1 accommodates an optional 1.6xextender and 3x wide-angle zoom lens(35mm film equivalent of 24-72mm).

It also offers the expanded option of usingCanon EOS lenses with the optional EFAdapter XL. Simply mount the adapterbetween the XL-1 and an EOS lens andyour capabilities are dramatically expanded.Potential focal range, from extreme wide tosuper telephoto (in 35mm equivalent), is24mm to 17,280mm.

16:1 Optical Zoom The longest optical zoom of any DV cam-

corder, the 16:1 zoom has a focal lengthrange of 5.5mm to 88mm (35mm focallength equivalent of 39 to 633mm). It hashigh speed motors for auto-focus andzooming, a six-blade Iris and a 1.5x NDfilter. Externally, the lens provides a vari-able speed zoom, manual zoom, manualfocus control options and a one-push auto-focus button.

SuperRange Optical Image Stabilizer

The 16:1 also incorporates an improve-ment of Canon's vari-angle prism opticalimage stabilization system. Known asSuperRange Optical Image Stabilization, itdelivers even greater image stabilizationperformance. Until now, optical image sta-bilizers have used a gyro sensor to detectcamcorder vibration. SuperRange takes it astep further, using a motion vector toexamine the image after it is received bythe CCD, and it detects any low-frequencyvibration missed by the gyro. This data isfed back to accelerate and refine the move-ment of the stabilizer's vari-angle prism.The process significantly improves perfor-mance for low frequency vibration —effectively eliminating image shake fromlower than 1 Hz to over 20 Hz — resultingin the most advanced optical image stabi-lization system available today.

3-CCD Image Sensor 3-CCD image sensors create true-to-life

quality images. A beam splitting prism sep-arates the light passing through the lensinto individual color components (RGB),and each is sent to its own CCD to achieveoutstanding detail and highly accuratecolor reproduction.

The XL-1 is equipped with 270,000 pixelCCDs, but uses advanced Pixel Shift CCDtechnology to rival 410,000-pixel systems.Using Pixel Shift, the camera achieves 530lines of resolution while applying signifi-cant improvements to the video signal.This results in a wider dynamic range, lowcolor noise, excellent color reproduction, ahigh signal-to-noise ratio, reduced verticalsmear and remarkable performance in low-light. It also favorably affects image qualityof the XL-1's digital zoom when extendedmagnification is required. You will realizesharper diagonal lines and reduced moirépatterns when shooting with the digitalzoom.

For super low-light shooting situations, theXL-1's pixels measure 72 microns — 150%larger than those of other DV camcordersin its class. The overall result is an approxi-mate 4 dB improvement in sensitivity. TheXL-1 performs equally well in brightly-litshooting environments. Vertical whitestreaks (smear) from bright light sources aredramatically reduced.


We Exhibit At NAB, Infocomm, and Siggraph


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ELECTROPHYSICSAstroScope 9300XL Night Vision Module

The ultimate night vision module for the XL-1,the AstroScope 9300XL transforms dark, moonlitnights (below 10-4 lux) into bright, high resolu-tion scenes that can be easily seen through theviewfinder and recorded. With itsincredible low-light performance andcompact design, the AstroScope9300XL turns the XL-1 into a power-ful night-time surveillance recordingsystem —ideal for use in night-timenews gathering, law enforcement, government surveillance and security applications.





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Three Recording Modes Three recording options for virtually any

imaging need include capture of highresolution full motion video (NormalMovie Mode), high resolution stop actionimages of moving subjects (Frame MovieMode) and picture perfect single images(Digital Photo Mode).

Frame Movie Mode lets you continuouslyrecord an incredible 30 frame images asecond, while effectively eliminatingmotion flicker by capturing a full imagewith every scan. The Frame Movie modeallows you to record high speed action forthe purpose of extracting high resolutionframe video images, which can then bedisplayed, printed or digitized.

For SLR-style flash photography, theDigital Photo mode will accommodatethe Canon Speedlite 380EX E-TTL flash,using an optional FA-100 Flash Adapter.

Five Program Modes The XL-1 offers five AE Program recording

modes for convenience, plus full manualcontrol. By simply rotating a large backdial, you can choose settings to suit yourshooting preferences:

Easy (Green) – All functions are automatic

Auto (A) – All settings are automaticallyset. Functions such as focus, exposure,and white balance can be set manually.

Spotlight Mode – Another Auto mode,this is for when you are shooting brightsubjects on a dark background.

TV (Shutter Priority) – Manually selectyour own shutter speed from 1/60, 1/100,1/250, 1/500, 1/1000, 1/2000, 1/4000,1/8000, 1/15,000, and the camera auto-matically sets the correct aperture.

AV (Aperture Priority) – Manually selectyour own aperture from 8 F-stop settings(f/1.6 to f/16), and the camera will auto-matically set the correct shutter speed.

Manual Mode – Full control over 27shutter speed and 27 aperture settings, aswell as manual control of focus, whitebalance, gain (five preset levels from -3 to+12dB) and exposure lock. A gauge inthe viewfinder indicates when a propershutter/aperture has been selected.

With its state-of-the-art image intensifier,the AstroScope dramatically extends theusable light range of the XL-1 by 8 to 10f-stops. Better put, it transforms nightswith no available light (10-4 lux or1/100,000 of a lux) into bright high reso-lution scenes.

Under bright conditions, the camcorder’sauto-iris closes the lens iris, protecting thesensitive intensifier tube.

Weighing a mere 21 ounces it adds virtu-ally no weight to the camcorder, allowingportable or tripod mounted operation. Italso draws very little power from the XL-1so no batteries or cables are needed.

For situations having absolutely no ambientlight available, there is an optional bore-sighted infra-red laser that illuminatesdark areas covertly by emitting an invisibleinfra-red beam. The AstroScope then con-verts this infra-red light to visible light sothat it can be recorded.

Despite its complexity, the AstroScope isremarkably easy to use. It requires no set-up,calibration or training. Sets up in seconds.

Once attached, the XL-1 and its lenscommunicate with each other as if theAstroScope wasn’t there. This way lensfunctions like zoom and iris — even opticalimage stabilization— are maintained.

Standard XL-1 Kit

• 16x XL 5.5-88mm ISZoom Lens

• CA-900 CompactPower Adapter

• BP-927 Battery Pack

• DC-900 DC Coupler

• SS-1000 ShoulderStrap

• WL-D2000 WirelessRemote Control

• S-150 S-Video Cable

• STV-150 StereoVideo Cable

• DVM-E30 DVCassette

• Lens Hood • SP-100 Shoulder Pad

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Three Digital Audio Modes The XL-1 offers three digital audio

modes (16-bit and two 12-bit modes)and is the first camcorder to offer simul-taneous recording on four channels,enabling recording of four separatetracks. You can also output each signalindependently.

There are a variety of audio input termi-nals with independent level controls,including one stereo mini-jack and twopairs of stereo RCA jacks. The optionalMA-100 Microphone Adapter/ShoulderPad permits the use of two XLR-typemicrophones. It also allows attachmentof a wireless microphone receiver andfunctions as a shoulder pad.

The XL-1 supplies automatic gain con-trol, or separate right and left audioinput gain controls, plus audio levelmeters for both left and right audioinput channels.

Conveniences Extra large high resolution 180,000-pixel

color viewfinder allows you to shoot withthe left or right eye and move from closerange to short distance (sports finder) atthe flick of a switch. A brightness controlallows you to adjust the viewfinder LCDcontrast for enhanced visibility in a varietyof lighting conditions.

10-second self-timer provides a 10 seconddelay before recording begins — enoughtime to get in front of the lens

Three slow shutter speeds (1/8, 1/15 and1/30 of a second) for a “streaming” back-ground when panning, or perfect low-lightrecording

LP Mode extends recording time of a 60minute DV tape to 90 minutes

Digital fader and wide screen TV effect

Chassis is a single, durable magnesiumframe, designed for protection from exter-nal shock. Almost twenty times strongerthan standard camcorders.

Supplied remote control has Jog/Shuttlewheel for locating edit points down tothe frame. Can be used with compatiblecamcorders for an assemble edit system.The remote also provides independentcontrol over audio channels 1 and 2.

Six-blade Iris for minimal light flare

Manual Zoom and Focus Ring on lens

72mm lens diameter permits the use ofscrew-on type filters

Minimum focusing distance of 3/4˝ atwide end

Built-in 1.5x Neutral Density filter

Maximum aperture f/1.8

1.6x ExtenderFits between the XL-1 and the XL lens to shift the focal length ofthe master lens to telephoto side by 1.6 times.


EF Adapter XLFits onto the XL-1and allows you to use over 50 Canon EF lenseson the XL-1




Dual Action Carrying Handle Unique shoulder mount design and carrying handle accommodate a variety of shooting

positions. In addition to the normal side grip, a conveniently positioned carrying handleincludes an additional Start/Stop switch and zoom control for dual-action shooting. Thismakes it ideal for low-angle recording. An adjustable shoulder brace enhances the shouldermount design, serving multiple users and ensuring maximum comfort.

Additional Features

Equipped with IEEE1394 DV output, forconnection to a DV compatible computeror VCR for editing, still image capture andoutput via printer.

Records DV Time Code (Drop-Frame) forframe accuracy, as well as data code —date, time, shutter speed and exposure set-tings. The information remains hiddenuntil selected for display..

Composite, S-Video and DV (IEEE 1394)output, Control L terminal.

Headphone jack with level adjustment.

Lighting filters for enhancing white balanceoperation based on lighting conditions orlight source such as daylight and tungsten(indoor).

Zebra pattern and Color Bar generatorprevents overexposure and ensures accuratecolor display during monitor setup.

Manual control over a Neutral Density filter,Gain and Zoom provides the highest degreeimage control, when needed.

3x Super Wide-Angle Zoom LensThe lightweight 3x Super Wide-Angle Zoom Lens provides theXL-1 with the widest field-of-view of any DV camcorder. Itwidens your angle of horizontal view to more than 70°, comparedto the 47° of the standard 16x lens. This represents an increase inangle of view of nearly 50%. Focal length of 3.4mm to 10.2 mm(24mm to 72mm equivalent in 35mm) enables you to move fromvast landscapes to close-ups with maximum flexibility.

The lens incorporates eighteen of the highest quality, precision-crafted optical elements, including low dispersion glass used tocompensate for chromatic aberration, to deliver extraordinarilysharp images as compared to wide-angle lens converters.


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BeachTek DXA-4C Dual XLR Adapter

The perfect accessory for the XL-1, the DXA-4Coffers an easy and reliable way to hook up profes-sional audio gear for superb sound every time. Inputtrim controls let you adjust for “hot” mics to ensureclean audio – eliminates overdriving the camcorder’spreamps. Can be used with the MA-100 Adapter forfour discreet balanced XLR inputs at the same time.

Power Brace/Power MateXL-1 Solutions from Dolgin EngineeringThe Power Brace and Power Mateboth give the XL-1 better weight dis-tribution, affording you a comfortablehandling from any classic shouldermounted camera. They also permit theuse of popular, yet inexpensivePanasonic BP-20 or BP-50 batteries asa proven and reliable power source, aswell as any available 9-14v DC power.

They Both Feature: Battery status LEDs Accepts standard (AG-456) inexpensive Panasonic 12v 2.0 Ah batteries 4-pin XLR input accommodates any external 9v to14v DC power source Maintains a 90-minute run time in record mode — even with auto focus and

image stabilization on.

BP-941 Lithium Ion Battery Pack:Provides up to 3 hours recording time........149.95

CH-910 Dual Battery Charger/Holder:Can consecutively charge two battery packs andconnect directly to the XL-1 to provide twice theplayback time. ............................................149.95

VL-10Li Battery Video Light: 10w illuminationpowered by its own lithium battery ................74.50

380EX Speedlite Flash: Attaches directly to XL-1to give SLR-style flash photography. (Optional FA-200 Flash Adapter required ........................169.95

FS-72U Filter Set: Three 72mm filters (MultipleImage, R-Cross, and Zoom Spot) ............ 129.95

HC-3000 System Case: Solid, lockable case forstorage and transport of the XL-1 ..............329.95

MA-100 Microphone Adapter/Shoulder Pad: Allows the use of a microphone with balanced XLRconnectors with the XL-1. It also converts the XL-1body into a shoulder mount for more comfortable andsteady handheld shooting. Can also be used as amount/support for a wireless mic receiver or theoptional CH-900 Dual Battery Charger ........329.95

Power BraceAn integrated adjustable full fit shoul-der brace, battery holder, and voltageregulator, the Power Brace attaches tothe camera using the rear socket (nor-mally used by MA-100 MicrophoneAdapter). Also provides an alternativemethod for mounting an MA-100.An easy-to-see LED voltage indicatorkeeps you informed of battery status.

Power MateThe Power Mate is a 12v batteryholder/bracket, which convenientlyattaches to the optional Canon MA-100 Mic Adapter/ Shoulder Pad. Thebracket integrates a DC voltage con-verter and has an easy-to-see LEDvoltage indicator to keep youinformed of battery status.

Canon Accessories

Power Brace................249.00 Power Mate............................199.00

OPTEX Lens Accessories for the XL-1WALS95 Rectangular Wide Angle Lens Shade: Provides protection from flare for both theCanon 16x and 3x Wide Angle zoom lenses.Mounted to the lens via a separate steppingring, the shade will also hold up to two 4x4filters...............1399.00

MBXL 4x4 Lens Shade: The OpTex 4x4 Sunshade is a bellows shadethat provides a deeper degree of flare protec-tion for the 16x Canon lens. Also holds up to two 4x4 filters............475.00

Nikon AI and Canon FD Lens Mounts:Lens mounts for attaching Nikon AI (NXLA) and Canon FD (CFDXLA) lensesto the XL-1. When the lenses are mounted on the XL-1 mounts they becomefully manual and their original focal lengths is effectively multiplied by 7.2x.NXLA..............264.95 CFDXLA.............449.95




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EQ-XL1EqualizerA high performance fabric/mesh slip-on windscreen, theEqualizer offers far higher wind protection than thecommon foam sock, along with a sweetened mid-range(to pull in clear, crisp dialogue). Constructed ofunbreakable polyethylene, epoxy and nylon, the toughouter acoustical fur is the softest and finest in the world.

Attenuates wind noise 30dB, or more than inefficient foam socks, for up to 40 MPH of wind protection.

Can be boom or fixture mounted, or used hand-held.

Will physically dampen hard knocks and protect themic while in transit.

Can be used in rain and snow, while keeping the microphone dry and acoustically unaffected.

Will not crumble and contaminate the mic. Equalizer will keep your mic in pristine condition for fifteen to twenty years.

MM-XL1Universal Mini-MountA low profile lightweight microphone mount, the MM-XL1 iso-lates your microphone from incoming noise, lens noise and micboom handling noise.

Universal modular type enables you to instantly switch to anyother mic — up to 30mm in diameter.

Changing from a short, wide angle directional mic for interviews to a long highly directional mic for longer range takes only a fewseconds.

SI-XL1System IsolatorThe SI-XL1 System Isolator is a multi-purpose isolator couplerspecific to the Canon XL-1. The SI-XL1 provides shock and vibra-tion isolation to the XL-1 viewfinder and microphone mountassembly system of the camera.

Distinctly reduces mechanically transmitted motor and operatorhandling noise, or shock to the microphone. Even the finest mech-anisms generate some rumble and whine, producing a variety ofhigh and low frequencies that combine into unwanted harmonics.

EQ-XL-1 Equalizer WindscreenEliminates Wind Noise to morethe 40 mph

MM-XL-1 Universal Mini mountIsolated Microphones from Zoom,Motor, Gear and Handling Noise

SI-XL1 System IsolatorShock & Vibration Isolation plus viewfinder repositioning forsuperior Camera Balance & Control

14:1 Manual Zoom Lens for the XL-1Built especially for the Canon XL-1, the OpTex XLPro is a professional 1/3-inch 14X Fujinon lens (T14x5.5 BRM4) 5.5 – 77mm — the samelens used by Panasonic for the AJ-D210/AJ-D215 DVC camcorders. Re-engineered by Optex to accept the XL mount, the XLPro offers resolu-

tion far and above that which the XL1’s CCDs are capable of resolving, andanswers the needs of videographers who find focusing a problem with the standardXL l 16x lens. Based in England, Optex has been providing optics to the broadcastTV and film industry for over 30 years, and possesses one of the best opticalworkshops in Europe, so you are assured of the highest quality and reliability.

Features an aperture of f1.4, zoom range of 5.5mm –77mm and has a mini-mum objective distance of 1m. Also has macro capability for close-up filming.

With a range from 1m to infinity, the XLPro’s focus scale is marked in bothfeet and meters. Throwing focus between two objects is easily achieved.

Has a back focus adjuster and special test pattern chart is included to preciselyset back focus.

EQ-XL1 Equalizer ...................................................................................119.95

MM-XL1 Universal Mini-Mount ............................................................119.95

SI-XL1 System Isolator............................................................................109.95


LIGHT WAVE SYSTEMS —Professional Microphone Isolation For the XL-1

We are on the web at: www.bhphotovideo.com

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DV Video Walkman/VCRsThe GV-D300 and GV-D900 are compact and portable DV Video Walkmen for playing,recording and editing your DV footage. Both offer 20-segment assemble editing, usinginfrared signals that are compatible with a wide array of camcorders and VCRs. They alsofeature the LaserLink Wireless Transmitter System, SP and LP record/playback speeds,analog recording capability, i.LINK (IEEE1394) input and output, 16-bit or 12-bit PCM audio with audio dubbing, Frame Advance, Crystal Clear Still andSlow Motion, Index Titler and Time Code.Identical in every respect, except for the 5.5˝ active matrix color LCD monitor onthe GV-D900. Convenient for viewing of playback or recordings right on the spot.

Video DV format offers up to 500 lines of hori-

zontal resolution and significantly higherS/N ratio to provide stunning video per-formance.

i.LINK DV In/Out (IEEE 1394) lets youedit or dub between another digital cam-corder, VCR or computer equipped withDV capture card, with virtually no gener-ation loss.

In addition to DV interface, they featurecomposite (RCA) and S-Video input andoutput for compatibility with analogequipment. A headphone jack is includedas well.

LP mode for up to 90 minute recordingon a 60-minute Mini DV cassette.

Three Search modes: by Index, Date orPhoto.

Audio Digital stereo recording with a choice

of two modes: Two 12-bit stereo tracks(32k Hz) for near CD sound quality, orone 16-bit (48k Hz) stereo track for DATquality recording.

Audio dubbing utilizing the 12-bit PCMrecord mode lets you add an additionalstereo soundtrack. You can add music ornarration to your videos without affectingyour original soundtrack.

Editing Index Titler lets you create custom titles

(22 characters), 2 sizes, 7 colors, 9 posi-tions, or 8 preset titles (Happy Birthdayetc.), using 4kB cassette memory chip.

Built in assemble editor lets you markcut-in and cut-out points for up to 20separate scenes. Use the Walkman as yoursource while controlling via infrared,almost any remote-capable camcorder orVCR as your recorder. To use the VideoWalkman as your recorder, you can usethe optional DSRM-E1 Assemble Editor.

Crystal clear Slow Motion Playback (even in pause mode).

Drop-Frame Time Code for frame accu-rate editing.

Control L Interface for connection toother VCRs and camcorders, with aControl L jack for synchronized editing.

Convenience LaserLink system provides wireless con-

nection from the Walkman to your TV,up to 16 feet away (requires optional IFT-R10 receiver). Can also power yourSony TV and switch to the correct input,all at the touch of one button.

Uses ‘No-Memory’ InfoLithium battery,which can also display in minutes theamount of power remaining at all times.

GV-D900 Only Incorporates a 51⁄2˝ color LCD screen with

active matrix technology to provide clear,accurate colors for on-the-spot playbackof recordings.

WEIGHTGV-D300 – 21.5oz. GV-D900 – 34.2oz.

DIMENSIONS (W x H x D)GV-D300 – 6 x 2 x 51⁄2˝GV-D900 – 6 x 21⁄2 x 51⁄2˝



• AC Adapter: AC-V700 w/DK415 - Quick Charger

• S-Video Cable

• AV Cable

• DV Cable

• Shoulder Strap


DSRM-E1 Assemble Editor .......609.95

NP-F950 Battery.......................119.95

DC-V700-DC Quick Charger ...119.95



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DV Format DV format offers over 500 lines of hori-

zontal resolution (three times the band-width of S-VHS VCRs) and high S/Nratio for stunning video performance.

Digital component video recording dra-matically improves color rendition andaccuracy, while reducing color “smear”.

PCM digital stereo audio offers either:Two 12-bit/32k Hz stereo tracks for nearCD sound quality, or one 16-bit/48k Hzstereo track for DAT quality recording.

Three-hour recording on standard DV-180, one hour on Mini DV-60 cassettes.

Video Digital comb filter separates Y/C for

cleaner, sharper, more detailed images.

Built-in Time Base Correction for jitter-free video performance.

Crystal-clear freeze frame and variableslow motion (forward and reverse) play-back.

2x, 10x, 25x normal speed playback forquick review, as well as 1/5x slow motionplayback.

Audio 12-bit or 16-bit PCM encoding for above

CD quality with 96 dB dynamic range.

Built-in MTS stereo tuner receives stereobroadcasts.

Audio level meters are provided for man-ual control of record and balance levels.

Editing i.LINK (IEEE1394) DV input/output

allows multiple generation dubs with vir-tually no loss in quality.

On-board 10-segment Assemble Editor isenhanced with an edit window that pro-vides a “Playback” window, and “thumb-nails” of all cut-in/cut-out points for easyreview of cuts.

Edit tray with Jog/Shuttle dial detachesfrom the deck for convenient placement.You can also control a Control L-equipped camcorder from the edit tray.

Video/audio insert and audio dubbingcapability. In addition, Video On Sound(VOS) editing capability lets you replacevideo without affecting original audio.

Drop frame time code for precise editing(compatible with RC Time Code).

Fine Synchro Edit provides A/B prerollfor improved accuracy when editing.

Whole Tape Copy automatically recordsall data (video, audio, time code, etc.) atthe touch of a button.

Conveniences Compatible with “Mini” and “Standard”

DV cassettes without an adapter.

Cassette Memory can display data per-taining to “Search Mode” on monitor.

Search Modes; by Index, Date or Photo.

Cable Ready 181-channel MTS Tuner.

VCR Plus+ system makes setting VCRtimer quick, easy and convenient.

8-event/1-month Timer with QuickTimer feature for one-touch recordings.

Cable Mouse Remote Repeater for unat-tended recordings of CATV or DSSbroadcasts.

Auto Clock Set from date and time datafound in broadcast TV (where available).

Camcorder-friendly front panel inputs, inaddition to rear panel inputs.

Supplied RMT-X1000A Wireless Remotefeatures a Jog/Shuttle dial and selectableVCR modes: VCR 1/2/3/4/5/6

Inputs/Outputs DV input/output connector x 1 (front)

A/V Outputs: S-Video, Phono x 2 (rear)

A/V Inputs: S-Video, Phono x 2 (frontand rear)

RF Antenna In/Out: 75 ohm

Headphone Jack (with volume control):Stereo Mini Jack (front)

Control L (LANC): Stereo Mini-MiniJack x 2 (front and rear)

Control S Input: Mono Mini Jack

DV Player/Recorder with Built-In Editing CapabilityThe DHR-1000 combines professional quality video (over 500 linesof horizontal resolution) with a long list of advanced features. Theseinclude PCM audio (12 or 16-bit), DV and analog input/output,10-segment Assemble Editor with edit window, removable editingtray, Jog/Shuttle dial, mini and standard DV cassette compatibility,TBC, audio/video insert, Video on Sound, synchro edit, VCR Plus+,and a 181-channel cable-ready tuner with timer — to offer unprecedented capabilities in a prosumer-class VCR.

Overnight Shipping Available


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DV Player/Recorder With Built-In Editing CapabilityThe AG-DV2000 is a DV-format VCR that offers easy, single-VCRediting with superior digital picture quality. Utilizing a professionaltransport mechanism based on DVCPRO technology, the deck assuresquick response time and outstanding reliability. A variety of terminalsmake it easy connect analog as well as DV equipment.


Power Source:120 AC± 10% 60Hz ± 0.5%

Weight:15.0 lbs.

Dimensions:171⁄2 x 413⁄16 x 1313⁄16˝ (WxHxD)

FF/REW Time:72 Sec. w/ AY-DV123EB52 Sec. w/ AY-DVM63EB

SYSTEMVideo Recording Format:

Digital Component

Audio Recording Format:Dig. PCM Stereo 16/12-bit

VIDEOComposite Video:

Input: BNC x 1, RCA x 1 Output BNC x 2:

S-Video:Input/Output:: x2 (4-pin)


DV, Mini DV

Tape Speed:Sp: 18.812mm/sLP:12.555mm/s

Recording Time:123 min. w/ AY-DV123EB

AUDIOAudio In:

309mV, Input Impedance47kΩ

Mic In (M3):0.33mV, 600Ω Unbalanced

Audio Out :309mV, Output Impedance1kΩ, Load Impedance 10kΩ

Headphone (M3):1~30mV, 8Ω Unbalanced

Versatile Editing with Two Modes: Auto and Manual—In Automatic mode (programmed editing), the AG-DV2000 serves as either the recorder orplayer and controls the other machine. Up to 40 sets of edit start and end points can be set forautomatic editing.

—In Manual Editing mode, the AG-DV2000 can serve as the recorder and will control theplayback unit, designating only the edit start points (One-Touch Editing), or the AG-DV2000can serve as either the recorder or playback unit, control the other machine, and set the editpoints by time code. Additional key features include timing control, phase and color leveladjustment, pre-roll editing, frame-by-frame time code.

DV Format DV format offers over 500 lines of hori-

zontal resolution and significantly higherS/N ratio, to provide stunning videoperformance.

Digital component video recording dramatically improves color renditionand accuracy, while reducing color"smear".

PCM digital stereo audio offers a choiceof either: two 12-bit/32 kHz stereotracks for near CD sound quality, or one16-bit/48 kHz stereo track for DATquality recording.

Allows high-density, high-quality DVrecording in both SP mode and extend-ed LP mode. In LP (1.5x recordingtime), you can record up to three hourson a single cassette.

Records onto DV cassettes that can beplayed back in DVCPRO decks, such asthe AJ-D230H and AJ-D450, with theoptional cassette adapter.

Built around the same aluminum die-castchassis and transport mechanism used inDVCPRO VCRs. The rugged casing pro-tects the high-precision mechanism toassure tape travel reliability, head trackingand durability. The mechanism alsoassures extra-quick search and responsetimes, and accurate editing of scenes.

Advanced reel drive technology providesfaster tape travel without damaging thetape. It improves control at all travelspeeds and provides extra-responsive jogand shuttle operations. It also offers SuperLinear Slow, an incredibly smooth andnatural ±1/5x slow motion playback.

Multiple Inputs/Outputs Equipped with DV terminal for digital

dubbing without degradation. Also allowssophisticated system control.

Complete analog compatibility with twosets of composite, S-Video and stereoaudio inputs and outputs.

Advanced Transport


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1/2-inch 3-CCD Professional DV CamcorderThe first DV camcorder designed from the ground up for profes-sional ENG work, the GY-DV500 combines the convenience andcost-effectiveness of Mini DV with the performance and fea-tures you need. Three 1/2-inch CCDs deliver the equivalentto 750 lines of resolution, superb sensitivity of F11 at 2000lux and minimum illumination of 0.75 lux (LoLux mode).Ruggedly constructed, its rigid diecast magnesium housingprovides the durability professionals crave. Compact designand lightweight (under 11 lbs. fully loaded) makes it extremely portable.Additional features like the menu dial and Super Scene Finder assure ease-of-use and shooting flexibility, while theIEEE1394 and RS-232 interface allow integration into various non-linear and post-production systems. A professionalcamcorder in every sense, the compact, lightweight GY-DV500 redefines acquisition for corporate, educational, cableand broadcast production, as well as wedding videography and multimedia applications.

Professional Specifications Applies JVC’s DSP with advanced 14-bit

video processing to bring out more naturaldetails, eliminate spot noise, accuratelyreproduce dark areas, and restore colorinformation in dark areas.

Three high-density 1/2˝ 380,000 pixel ITCCDs ensure the best possible image qual-ity with picture sharpness equivalent to750 lines of horizontal resolution.

CCDs are equipped with advanced circuit-ry to virtually eliminate vertical smearwhen shooting bright lights in a darkroom. Ensures efficient light conversionwith a sensitivity of F11 at 2000 lux.

CCD Defect Correction function evaluateswhite defects with the lens closed and thenstores their addresses in memory. Whenthe camera is turned on, data is sent to theDSP for storage and real-time correction.

Black Stretch/Black Compress functionensures accurate reproduction of blackareas on the screen. Advanced color matrixcircuits give even difficult images a verynatural appearance.

Multi-stream parallel digital pipeline pro-cessing at 40 MHz creates an ultra-smoothgamma curve, calculated using a true logscale algorithm. The result is a dynamicrange of 600% to accurately reproduce finedetails and colors in shadows or highlights.

Professional Performance When activated, the Lolux mode increases

sensitivity with almost no increase innoise. Lolux lets you capture high-qualityvideo footage with excellent color balanceat just 0.75 lux minimum illumination.

Multi-zone iris weighting system gives pri-ority to objects at the central and lowerportions of the picture for accurate autoexposure under any condition, even if abright subject moves into the picture.

Adjustable gamma for adjusting the “feel”of the picture according to taste.Adjustable detail frequency for setting pic-ture sharpness for a bolder or finer look.

Viewfinder status display uses charactersand menus to display selected information,including audio indicator, tape and batteryremaining time, VCR operation and warn-ing indicators. Camera settings and setupparameters can also be checked at a glance.A built-in menu dial lets you quickly nav-igate through the viewfinder menu.

Highlight Chroma Processing maintainscolor saturation in highlights. The result isnatural color reproduction, even in brighthighlight portions of the picture.

Smooth Transition mode ensures a smoothtransition with no jump in color or lightlevel taking place when manually changinggain or white balance settings

Professional Audio To complement its superior video perfor-

mance, the GY-DV500 offers outstandingdigital PCM sound. Choose between two16-bit 48-kHz channels or 12-bit 32-kHzchannels with a dynamic range of 85 dB.

In addition to camera mounted mic, hastwo XLR-balanced audio inputs with 48vphantom power and manual audio control.Phantom power can be switched off whennot in use.

Side-mounted speaker lets you monitoraudio in playback and recording modeswithout headphones. The speaker alsodelivers audible warnings.

Compact and Lightweight Measuring 10-7/8 x 9-11/16 x 5-1/8 the

GY-DV500 amazingly enough is almosthalf the size of the GY-X2B. Weight iscarefully balanced for ease of use in anENG environment and extended shooting.

Die-cast magnesium body contributes tothe GY-DV500’s reduced weight and offersimproved rigidity and durability. Tapemechanism ensures reliability and stableshooting in the field.

Consumes less than 20 watts of power,eliminating the need for cumbersome andheavy, large-capacity battery packs.

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Automatic Functions Full Auto Shooting (FAS) mode for

point-and-shoot ease of operation. Yousimply zoom and focus. Activating theFull Auto Shooting sets the camera tothe Auto Iris Mode, even if the lens is setto manual. Automatic video level control(ALC) is also activated, along withExtended Electronic Iris (EEI) and FullAuto White, which provide both variablegain and variable shutter. Shoot continu-ously from a dark area to a bright areawithout changing Gain, Iris or ND filter.

ALC (Automatic Level Control) withEEI (Extended Electronic Iris) for con-tinuous shooting in all light levels — noneed to switch gain settings or ND filter.

Continuous Auto Black (CAB) circuitassures perfect Black Balance in a chang-ing environment without having tointerrupt shooting.

Accu-Focus activates the electronic shut-ter for approximately ten seconds, forc-ing open the iris. A s a result, the depthof focus is minimized, and the lens canbe focused quickly and precisely.

Conveniences Time code and index IDs allow frame

accurate non-linear editing and master-ing on standard formats with quick easyaccess to any target point.

LCD display system let you switch or setfunctions, while referring to the counteror the on-screen display. Mode selectionand initialization are also available viathe menu display. Back-lit display sup-ports shooting in dark areas.

Back tally lamp lights to let you knowthat the camera is entering the Recordmode. It flashes during the transition tothe record mode and when an error isdetected in the camera.

Variable Scan function allows flicker-freeshooting of computer monitors. Shutterspeeds can be set from 1/60.5 to 1/196.7of a second in 255 increments to precise-ly match the scan rate of the monitor.

Tape/battery remaining indicator meansyou always know exactly how much tapeand battery power remains.

Switches are laid out the way most profes-sionals are used to. Operation is easy, intu-itive, precise and error-free.

Genlock input and sync lock modeenables a number of cameras to be syn-chronized for multi-camera shooting.

IEEE1394 (DV) I/O for lossless digitaltransfer to or from DV-based non-linearediting systems or DV recorders.

Basic control using a PC is also availablevia the RS-232 port, making the GY-DV500 ideal not only for shooting butalso as a feeder in an editing system.

Uses a standard professional 1/2-inch bay-onet lens mount, making it compatiblewith the widest selection of lenses — evenbroadcast lenses.

Super Scene FinderA JVC exclusive, Super Scene Finder lets you log scenes (in and out time code) automaticallyor manually in the field, and mark the which scenes are good. This dramatically speeds up thetransfer process and saves disk space, because you only digitize those scenes you want for editing.The scene data is written directly onto the MiniDV cassette, eliminating the need for cassetteswith a memory chip (a/k/a higher priced). Up to 134 scenes can be marked per cassette. Inaddition, scene data from the last 3 cassettes is held in the camcorder’s memory, allowing thedata to be added to the cassette at a later time.

Super Scene Finder Sony ClipLink

Log Data Recording Location First, log data is stored in the Log data is recorded incamcorder’s memory (for the last three the cassette’s IC memorycassettes) and then recorded at the beginning of a tape.

Number of Log Data Up to 135 scenes for one cassette 198 scenes (16 kb -memory)45 scenes (4 kb -memory)

Mark-In/Out Timecode Data Hour: Minute: Second: Frame Hour: Minute: Second

Index Picture No Yes (optional boardrequired/transfer with QSDI

As shown in the table below, you don’t need any optional equipment to take advantage of theSuper Scene Finder function. As opposed to Sony’s ClipLink, where an optional board isrequired and QSDI transfer is only possible to an expensive non-linear editing system.

Professional Design

GY-DV500 vs Prosumer 3-CCD DV CamcordersDARE to COMPARE

The inherent signal recording quality of all 25 Mbps DV-based camcorders is the same. Thedifference is that the GY-DV500 has been built entirely to JVC’s professional specifications,incorporating much of the same advanced camcorder technology and design that producedJVC’s DY-90 Digital-S broadcast camcorder. Professional broadcast features include 14-bit Digital Signal Processing, Full Auto Whiteand Auto Black, Black Stretch and Compression, Genlock input, Zebra level indicator andLoLux low light performance. It accommodates interchangeable lenses, even broadcast lens-es, via a standard 1/2-inch bayonet mount. The GY-DV500 provides two channels of 16-bitdigital PCM audio at 48 kHz as well as XLR mic inputs, line input and output, headphoneoutput, and manual audio/mic level adjustments. Video includes composite and S-Video output with 7.5 IRE setup and DV IEEE1394 input/output as well. Has a built-inSMPTE time code reader/generator and SMPTE color bar generator.


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Used Equipment Bought, Sold and Traded


Image Sensor:1/2˝ IT CCDs (x3) 380,000pixels each

Color Bars:SMPTE

Lens Mount:1/2˝ bayonet system

Optical Filter:3200K, 5600K,5600K+1/64ND

Sensitivity:F11. 2000 lux

Gain:-3, 0, 6, 9, 12, 18 dB,Variable gain in ALC andLolux

Min. Illumination:0.75 lux with F1.4, Lolux

Electronic Shutter:Variable electronic shutterfrom 1/100 to 1/2000 of asecond. Variable Scan from60.1 to 208. 4.Hz

VTR SECTIONRecord/Play Time:

60 minutes with MDV-60

FF/Rewind Time:2 minutes for MDV-60

Video Output:Composite (BNC x1)S-Video (4-pin x1)

AUDIORecording Format:

16-bit, 48kHz (2 channels)12 bit, 32kHz (4 channels)

Frequency Respond:20 Hz to 20kHz (16-bit)20 Hz to 14.5kHz (12-bit)

S/N:60 dB

Dynamic Range:85 dB

Audio Inputs:Mic:-60 dB XLR balancedLine: +4 dB XLR balancedFront Mic:-60 dB

Line Outputs:Line 1/Line 2: -6dB RCA

CONNECTORSIEEE1394: 4-PinRS-232: Mini-DIN 6-Pin

GENERALPower Requirement:

DC 10.5v to 17v

Power Consumption:20W

Dimension:107⁄8 x 911⁄16 x 51⁄8˝ (WxHxD)

Weight:11 lbs.(with viewfinder, bat-tery, mic and tape)


Power Requirement:AC 120 V 50/60Hz, 12V

Power Consumption:35W

Dimension:215 x 88 x 324.5(WxHxD)

Weight:8.8 lbs. (4 kg)

Record/Play Time:60 minutes with MDV-60

FF/Rewind Time:2 minutes with MDV-60

VIDEO I/O Analog Input:

Composite video (BNC x1)S-Video (4-pin x 1Component video (BNC x3)

Analog Output: Composite video (BNC x1)S-Video (4-pin x 1Component video (BNC x3)


± 6 dB, High Impedance,Balanced

Output:0 ± 3 dBs, low Impedance,Balanced

CONNECTORSIEEE1394: 4-PinRS-232: Mini-DIN 6-PinJVC Bus : 12-pin

AUDIORecording Format:

16-bit, 48kHz (2-channels)12 bit, 32kHz (4-channels)

Frequency Respond:20 Hz to 20kHz

Dynamic Range:85 dB or more (PCM audio)

Audio Input:Line: -6 dB, HighImpedance, unbalancedMonitor: -6 dB, HighImpedance, unbalancedHeadphone: 8 ohms

For optional accessories see page 58 (Uses the same accessories as the GY-X2B)

When shooting with the GY-DV500, unload the tape and load it into the BR-DV600 for editing on a non-linear system or dubbing to S-VHS.

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Professional DV Player/RecorderA compact, lightweight DV recorder, the BR-DV600 fits perfectly intoany professional video system — analog or digital. And with its versa-tile interface capability, is flexible enough to connect into virtuallyany editing system — linear or non-linear.Designed to interface with all the most commonly used professionalediting systems, the BR-DV600's IEEE1394 I/O enables lossless digi-tal transfer to and from many non-linear editing systems, making itan excellent choice as an NLE spooler. It is also the only DV machine to feature both component inputs/outputs and anRS-422 interface. Additional flexibility is assured by Y/C input/output, JVC’s exclusive 12-pin control bus, and anoptional RS-232 interface, allowing use with just about any existing linear editing system — whether it's digital oranalog S-VHS, Hi8 or Betacam SP. A great addition to the GY-DV500 DV camcorder, you can shoot high-quality digital footage in the field then load theMiniDV cassette into the BR-DV600 and transfer the video data to the editing system of your choice. With its ability toconvert analog signals to digital, the BR-DV600 integrates into any existing system. For corporate and educational pro-ductions, cable and TV broadcasting, and multimedia applications, the high-quality digital performance, system flexi-bility, and wide range of advanced features make the BR-DV600 the only choice for anyone shooting or editing in DV.


Compact and Lightweight Only 215 mm (8-1/2") wide, two BR-

DV600s can be placed side by side in a19-inch standard rack.Weighs only 8.8 lbs.

DV Recording Mini-DV format offers all the convenience

and affordability of a consumer system,while providing high-quality 4:1:1, 8-bit,25 Mbps component digital processing togive you the superior recording perfor-mance you need for professional applica-tions. Mini-DV tapes are readily availableand inexpensive, so you can get replace-ment tapes whenever you need them,wherever you are.

PCM Digital Audio To complement its superior DV pictures,

the BR-DV600 offers outstanding digitalPCM sound. You can choose two 16-bit48-kHz channels or four 12-bit, 32-kHzchannels with a dynamic range of morethan 85 dB.

AC/DC Capability In addition to AC, a DC-12v connector is

provided, allowing the BR-DV600 to runin locations where an AC power supply isnot available.

System Flexibility To enable even more versatile system con-

figurations, the BR-DV600 has an indus-try-standard RS-422 interface. As a feederin an editing system, the BR-DV600 cansupply a DV source for editing with vari-ous formats. It also comes with JVC’s 12-pin bus interface compatible with JVC'spopular S-VHS edit-desk system. An RS-232 interface is optionally available.Control the BR-DV600 from a PC eithervia DV or the RS-232 interface.

Variety of Inputs/Outputs Equipped with DV (IEEE1394) input and

output for lossless digital transfer to a DV-based non-linear editing system or DVrecorder. In addition, composite, Y/C andcomponent inputs/outputs are providedfor various video sources.

Super Scene Finder JVC's exclusive Super Scene Finder (SSF).

lets you log scenes, and mark the ones youwant to use, to dramatically speed up thetransfer process and to save disk space in anon-linear editing system. Logged datarecorded on a tape with the GY-DV500can be spooled onto a non-linear editingsystem. Since scene data is written directlyonto the Mini-DV cassette, expensive cas-settes with memory chips are not required.Up to 134 scenes can be marked per cas-sette.

Additional Features• Time code reader/generator• External sync input and output • External timer recording/playback


BR-DV600 Rear

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Revolutionary Video FormatScenes marked “OK” or “NG” in the camera; 4x transfer speed; digital picture quality that lasts for generations — theextraordinary benefits of DVCAM. Firmly based on the consumer DV format, DVCAM overturns every previously heldnotion of how video is shot and edited. Camcorders and VCRs that rewrite the standard for digital video cost/perfor-mance, features and functionality. A system that blurs the traditional distinctions between acquisition and production,between consumer and professional - and most importantly, empowers videographers and editors to accomplish muchmore, in much less time—and less money.

A traditional weakness of non-linear editing systems is the need tofirst download the video program onto the hard drive. This step,somewhat misleadingly called “digitizing”, puts a hurdle in front ofevery production. For a long-form program, digitizing can tie up aperson, not to mention an editing system, for hours. With an alldigital, totally integrated production system, DVCAM totally elim-inates this barrier. With completely new and unprecedented fea-tures like ClipLink Memory and 4x Real-Time Signal Transfer,DVCAM integrates videotape acquisition and non-linear editing asnever before.

More than any other any previous recording feature, ClipLinkblurs the distinction between acquisition and post-production. Itenables the shooter to accomplish important editing functions incamera, in the field. It speeds the transfer from tape to hard driveby enabling editors to automatically transfer only the selectedscenes. And it facilitates non-linear editing on the Sony ES-3 orES-7 EditStation by providing Index Pictures right off the tape.With ClipLink, productions are edited much faster, with vastlyincreased efficiency and far less time wasted on the boring, unpro-ductive business of “digitizing”.


DVCAM: The Key Features

Integrated Acquisition and Editing

With Sony’s ClipLink system, you can mark your scenes “OK”or “NG” in-camera. And you can do it in the field, on the fly,while you are still involved in shooting. ClipLink takes advan-tage of the IC memory chip located on-board Sony DVCAMcassettes. The following ClipLink Log Data is recorded forevery scene.

1. Mark In/Out (or Record In/Out) Time Code

2. Cue Point Time Code

3. OK/NG Status

4. Reel Number

5. Scene Number

6. Take Number

There is more. For each scene, ClipLink records an IndexPicture onto a special area at the end of the tape. This is a stillframe of each in-point, to serve as the visual information asso-ciated with the shot data. When the time comes to transferfootage into Sony’s ES-3 or ES-7 EditStation, the IndexPictures become available for Drag-and-Drop editing.

With the DSR-85 connected to the ES-7, all ClipLink LogData, including Index Pictures, is transferred first. Then yourselected footage can be transferred automatically – withouttying you up.

ClipLink Operation

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ClipLink cuts down on the bulk of video you need to transferonto your system’s hard drive by eliminating the out-takes andleaving only the selected scenes. Sony’s 4x real-time transfercapability takes it a step further. It cuts down on the time ittakes to import every one of your selected scenes. Previously,non-linear editing systems employed real-time (1x) transfer: onehour of video takes one hour to transfer. Sony’s 4x real-timesystem takes just 15 minutes to transfer an hours worth offootage.

The high-speed transfer takes place between the DSR-85 andthe ES-7 EditStation and uses the high-speed connection calledSDTI(QSDI). Normal speed transfer requires one frame of datafor each 1/30 second time period. The SDTI(QSDI) interfacecarries four frames of data during the same time period. Videoand audio are stored on the hard drive just as it is stored on aDVCAM VCR tape, therefore no conversion or “digitizing” ofthe digital signal is required.

SDISerial Digital Interface(4:2:2 Processing)

SDTI(QSDI)DVCAM ProfessionalDigital Interface (4:1:1 Processing)

DVIEEE1394 Consumer DigitalInterface (4:1:1 Processing)

SDTI (QSDI)The SDTI (Serial Data Transport Interface) is defined as SMPTE 305M. SDTI(QSDI) is the DV signal interface which conforms to theSDTI. SDTI(QSDI) forms the connection that makes 4x transfer possible. It may sound new, but the SDTI(QSDI) connection is basedon SDI, the serial digital interface known as SMPTE 259M. Comparable to SDI, the SDTI(QSDI) uses the same coax cables, BNCconnectors, and offers the same 270 Mbps maximum data transfer rate. The SDTI(QSDI) interface can also use the same routingswitchers found in today’s SDI facilities and allows the same maximum cable run of 200 meters (over 650´).



x1 & HighSpeed







Up to 200m

Up to 200m



Broadcast standard serial interface for component (D-1) and composite (D-2) digi-tal signals (uncompressed video and audio).

Serial digital interface handling 1/4˝ digitalcompressed video + uncompressed audioand data (Subcode). Uses the same physicallayer as SDI.

Serial digital interface handling 1/4˝ com-pressed video + uncompressed audio anddata plus VCR control.

4x Real-Time Signal Transfer

1 frame:1/30(1/25)sec. t

1 2x1

x4 1 2 3 4 5 6 7 8 9 10

3 4 5

Amount of digital data forDVCAM footage in QSDI

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Versatile Docking RecorderSony’s DSR-1 embodies breakthroughs in cost/performance, portability, durability, features and systems design. As part ofClipLink operation, the DSR-1 stores an Index Picture for each recorded scene. The Index Pictures become the key ingre-dient in easy, intuitive drag-and-drop editing on the ES-3 or ES-7 EditStation. Each Index Picture is first stored in ICmemory, either on the cassette memory or on the recorder itself. Then, before the tape is ejected, the Index Pictures arerecorded onto the tape.

Index Picture Recording One video frame is reduced to an Index

Picture of 90 samples (H) times 60 sam-ples (V). Up to 32 Index Pictures can fitinto one video frame. For the purposes ofoptimum DCT compression and decom-pression, each Index Picture is separatedby a band of gray. This makes the high-frequency content of the total frame easi-er to handle. The total capacity for IndexPictures depends on the specific size ofthe cassette memory. For example, usingconsumer DV (not recommended) cas-settes (4 kB memory) yields 45 pictures.In contrast, DVCAM cassettes (16 kB)yield 198 pictures.


Dual-Cassette Mechanism Conventional VCR wisdom dictates that when a tape format offers

small and large size cassettes, the portable equipment will onlyaccept the small cassette. Until now, DVCAM standard-size cas-settes offer up to 184 minutes of video. Yet in physical size, theyare not much bigger than an 8mm cassette - extremely well-suitedto field acquisition and portable recording. That is why Sony engi-neered the DSR-1 to become the first dockable to accept twoindustry-standard sizes of tapes.

Dual-Interface Mechanism As a dockable recorder, it was important for the DSR-1 to be com-

patible with the widest possible range of docking cameras. So inaddition to the standard analog 50-pin docking interface, theDSR-1 also includes a digital 76-pin interface for direct docking tothe Sony DXC-D30. Cleverly designed, the analog and digitalconnectors are mounted to a common panel that turns like arevolving door. A supplied, screw-mounted cover plate assures thatonly the appropriate interface is visible at any time.

The reel drive plates, CM (Cassette Memory) connector and reallock arm shift within 0.3 seconds after you insert a cassette. Theadjustment is quick, convenient, and totally transparent to you..

Pro 76-pin Pro 50-pin

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High-Speed Editing VCRThe DSR-85 has the mechanical durability and robustness that mark it as a full-blooded Sony professional VCR. Itincorporates many of the same internal design features as Sony Betacam SP machines, including the loading mechanism,reel drive and tension servo systems. It also has the mechanical refinements that make 4x real-time transfer possible.Given a formats track pattern on the tape, engineers have a wide choice in designing a VCR capable of 4x playbackspeed. Sony could have kept the head number constant and simply quadrupled the drum speed from 9000 to 36000rpm, but they found that to be unrealistic, both mechanically and electronically. For example, the resulting transfer rateof 167 Mbps was beyond the capacity of a single head pair. Sony then decided to double the number of heads. Theresulting drum spins at half the standard speed (4500 rpm) during normal record/play. And it spins at twice the stan-dard speed (18000 rpm) for 4x record/play. The mechanism was just one part of the solution. The electronics had to beredesigned to accommodate 4x Real-Time Transfer. In normal speed playback, the new mechanism uses half the normaldrum rotation speed. Each head rotation takes twice as long, but two tracks are traced at once. At 4x, four times theamount of signal is decoded (or encoded) in parallel, using four decoder ICs. After combining decoded signals throughthe time division multiplexing process, the data is ready for 4x transfer through the SDTI(QSDI) interface.


Sony’s DVCAM tapes are half the size of aVHS tape and have advanced, double-Metal Evaporated layers for higher outputand lower noise. A proprietary DLC(Diamond Like Carbon) layer protectsboth recording layers to ensure durability.

A special surface layer acts as a lubricantto reduce friction between the tape anddrum and as a rust-proofing agent toprevent the deterioration of the record-ing layers’ magnetic characteristics.

Newly-developed back coating layerreduces friction between the tape andthe guide pins, providing more stabletape movement.

Sliding Write/Protect tab helps to pre-vent accidental erasure.

Built-in Read/Write 16 kB memorychip. The most unique aspect of thecassette is that the chip stores the dateand time of Photo Mode images.Information stored in the memory chiplets you build a “Table of Contents” ofthe tape that can be accessed to auto-matically locate a particular “RecordingDate” or “Photo Mode” segment. The16kB chip stores 6 record dates and 43photo dates.

Sony DVCAM Cassette Tapex1 Normal

Speed Modelx1 Mode x4 Mode

4500 rpm 18000 rpm

High-Speed Editor (DSR-85)

2 Pair

x1x1Tape Speed

Head 1 Pair

9000 rpmDrum Rotation



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Thanks to their common roots and Sony’s choice of 15 micron-widetrack pitch, DVCAM and DV equipment are broadly compatible.This is a real advantage for those who wish to play back DVCAMrecorded tapes in consumer DV machines and DV recorded tapes inSony’s DVCAM machines. In a pinch, you can even record on a con-sumer blank in DVCAM mode on a professional deck. While it isphysically possible to record professional DVCAM programmingonto consumer DV tape, Sony advises against it.

DVCAM tape uses an optimized Diamond Like Carbon (DLC) pro-tective layer and surface roughness pattern, tightly controlled forlong-term use. As a result, DVCAM tape is better prepared for therigors of editing and archiving, with half the dropouts of consumerDV tape. Better edge slitting for DVCAM tape also makes for morereliable machine-to-machine tape interchange and reduced off-track-ing. Finally, DVCAM tape has four times the cassette memory ofSony DV tape.

DVCAM vs. Consumer DV

DVCAM and Consumer DV Compatibility

While the DV standard allows four recording modes, DVCAMmachines will record in two of them: 2-channel mode (48kHz, 16-bit)and 4-channel mode (32 kHz, 12-bit). Because professionals demandabsolute synchronization between audio and video, DVCAMmachines record in the Audio Lock mode. Using Audio Lock, you canconduct insert edits, secure in the knowledge that audio will followvideo with absolute precision.

The locked versus unlocked distinction may seem slight, but it has animportant side-effect. You cannot make digital dubs from consumerDV equipment to professional DVCAM VCRs. Even when bothmachines have the same interface, the structure of the audio bits isincompatible. For the same reason, you cannot “work around” thelimitation by inserting the DV tape into a DVCAM player and thendigitally dubbing onto another DVCAM VCR. However, you can dubfrom DV to DVCAM in the analog domain. The result will be anaudio locked DVCAM cassette that is fully editable.

Audio Lock and DV Dubbing

Sample/ Frames

The Audio Lock mode specifies a precise number of audio samples tobe associated with each video frame. Consumer DV machines use theless precise audio unlock mode, which allows the sample number tovary slightly, according to the precision of the recorder’s internal oscil-lator.

Professional Audio Lock mode 525/60 System 625/60 System

48k mode 1600 or 1602 1920

12801066 or 106832k- 4 ch mode

Sample/FramesConsumerAudio Lock mode 525/60 System 625/60 System

48k mode 1600 ± 20 1920 ± 24

1280 ± 161053 - 108032k- 4 ch mode

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Efficient Non-Linear Editing SystemIntegrate the DSR-300 or DSR-130 DVCAM Camcorder, a DSR-80/85 DVCAM Editing VCR and the ES-3 EditStation, and you havea highly efficient digital editing system.

Superior multi-generation picture and sound quality are assured, sincedata is transferred via the SDTI(QSDI) interface without signal com-pression or decompression or conversion between analog and digital.In addition, highly efficient ClipLink operation enhances the entireediting process.

Upwardly Compatible Editing SystemDVCAM VCRs (DSR-60/80/85) support SDI (Serial DigitalInterface) as an option (included with the DSR-2000). This allowsdirect digital connection with every other SDI-equipped machine (D-1, Digital Betacam, Betacam SX), ensuring upward compatibilitythroughout the broadcasting system.

High-Speed Non-Linear Editing SystemAn integrated digital editing system can be achieved by combining theDSR-300 or DSR-130, DSR-85 and the ES-7 EditStation. Again,using the SDTI(QSDI) Interface, maximum multi-generation pictureand sound quality is maintained, because there is no compression/decompression or analog/digital conversion. Highly efficient editingperformance is provided by the ClipLink function, as well as the high-speed data transfer capability of the DSR-85 which transfers data at4x normal speed between the DSR-85 and the ES-7.

Low-Cost, Simple Editing SystemA fully digital editing system can also be configured at low cost with asimple system. Connecting the DSR-PD100 or DSR-200A cam-corders to the DSR-20, DSR-30, DSR-V10 DVCAM recorders or theES-3 EditStation via the i.LINK Interface, allows simple and efficientediting to be performed. This configuration has the added benefit of asimple, single wire connection between equipment.

Flexicart SystemOnce editing has been completed, program material can be stored in a Sony Flexicart system, the multicassette system for program transmission.A Flexicart system can be configured with a wide range of Sony VCRs, including DVCAM VCRs. Maintaining the signal in the same digitalformat, from acquisition to transmission, ensures outstanding picture and sound quality with virtually no deterioration in quality.

Together the DVCAM format andSony’s ES-3/ES-7 EditStation provide acomplete production system with twodistinguished features. First, all digitalprocessing is achieved from acquisitionthrough editing to transmission. Digitalprocessing camera heads make digitalacquisition possible; DVCAM VCRsmake digital recording possible. The recorded signal can be maintainedin the digital domain while stored on acomputer hard disk during non-linearediting. The result is far greater opera-tional efficiency, along with virtually nosignal deterioration throughout theentire video production process. Second, a variety of digital interfaces areprovided. DVCAM and the EditStationssupport SDI, SDTI (QSDI) and i.LINK(DV in/out). Standard industry digitalinterfaces, they facilitate direct digitalediting and dubbing without the needfor compression/decompression.

DVCAM and EditStation—Complete Digital SolutionDigital Processing Throughout Video Production—From Acquisition to Editing to Transmission

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1/4-inch 3-CCD Mini DVCAM CamcorderThe smallest DVCAM camcorder, the DSR-PD100A offers 4:3/16:9 switchableaspect ratio, and is also the first one with built-in still image capture capability. TheDSR-PD100A features three 1/4-inch 380,000 pixel CCDs that allow twoscanning modes: 480 progressive (for stills) or interlaced (for video). In the480p (progressive) scan mode you can capture high quality still images anddownload them to a flash memory card or MemoryStick via the built-inPCMCIA slot. Up to 150 JPEG pictures can be stored on one 8MBMemoryStick. Incredibly lightweight, exceptionally sturdy and extremelyportable, the PD-100A is perfect for tight situations where your regular, full-size camcorder is too large, heavy or difficult to maneuver.

High Picture Quality Three 1/4-inch CCD sensors, each with

380,000 pixels compliments the DVCAMformat, with a high standard of qualityfor this class of camera.

Records on the DVCAM format to offersuperior video and audio quality, and reli-ability for professional use.

The CCDs in the DSR-PD100A can beswitched to scan in two ways: InterlacedScan for recording moving images andProgressive Scan for recording stillimages.

Super SteadyShot compensates forunwanted camera movement withoutreducing image quality.

12x optical and 48x digital zoom lens

Manual control of Focus, Gain, WhiteBalance Shutter Speed and so on. Automodes are included for quick operation.

Still Image Recording Record still images on tape or removable

media, such as a Memory Stick, which issupplied with the unit.

Still images scanned in interlace or pro-gressive modes can be recorded on tape.

Still images scanned in the ProgressiveScan mode are recorded onto removablememory media. Depending on the sub-ject, you can choose the picture qualityfrom three modes: Super Fine (SFN),Fine (FIN) or Standard (STD).

7-Day Customer Satisfaction Guarantee

High Performance i.LINK interface provides a single cable

connection to transfer digital video andaudio with virtually no generational loss.

Equipped with a high resolution 3.5-inchcolor LCD monitor. The 184,000 pixelmonitor opens 90° to the side and swivels180° degrees.

In addition to the LCD monitor,has a180,000 pixel color viewfinder for accuratefocusing, white balancing and so on.

Incorporates Sony’s InfoLithium batterysystem enabling the DSR-PD100A toindicate remaining battery capacity withinone minute of accuracy.

Audio Records PCM digital stereo sound in both

48k Hz mode (16-bit) and 32 kHz mode(12-bit). When recording in 12-bit mode,another stereo channel can be added later.

Supplied XLR adapter attaches to the hotshoe allowing connection of professionalmicrophones. Via the XLR adapter, DCpower (+48V) for a microphone is alsosupplied from the DSR-PD100A.

Compact and Lightweight Weighs 2.2 lbs. with battery and a tape.

Magnesium alloy die-cast body keeps itlight but robust.

Supplied Accessories 0.7x wide conversion lens complete with

lens hood and case

RMT-811 wireless remote gives you con-trol of Start/Stop/Zoom and VCR opera-tion, plus slow playback or search

4 MB Memory Stick with MemoryStick/PC Card Adapter.

AC-L10 AC Adaptor, NP-F330InfoLithium Battery, XLR Adaptor, Stereo AV Cable and Shoulder Strap

Although the DSR-PD100A may look similar to the consumer version TRV-900, not all isthe same under the hood. The DSR-PD100A has a rugged DVCAM tape transport insteadof DV and records with locked audio. It also features time code with Drop/Non-Drop Framemodes and two level Zebra function—both not available on the TRV-900.

Optional Accessories • ECM-670

Electret Condenser Microphone

• CAC-12 Mic Holder

• EC-0.5C2 0.5 meter mic cable

• NP-F950/B InfoLithium Battery Pack

• NP-F550 InfoLithium Battery Pack

• VMC-IL44151.5m i.LINK 4 pin-4pin cable )

• VMC-IL4435(3.5m LINK 4-pin-4-pin cable )


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1/3-inch 3-CCD DVCAM CamcorderCombining a compact and lightweight body with thesuperior picture quality of DSP (Digital SignalProcessing) and the DVCAM format, the DSR-200Ais the ideal acquisition tool for video journalists, eventand wedding videographers, stringers and productionhouses. 500 lines of horizontal resolution, 48 kHz or32 kHz digital audio, three hour record time, andminimum illumination of 3 lux is only the beginning.Additional features include 16:9/4:3 capability,SteadyShot, high resolution 1˝ viewfinder, Time Codeoperation, Time and Date superimposition and an IEEE-1394 interface for direct digital output. Offers full automatic, as well as manual control of Focus, Iris, Gain, White Balance and Shutter Speed.

Digital Video Recording Digital component recording system sam-

ples luminance at 13.5MHz (same as D-1)to record an incredible 500 lines of hori-zontal resolution at 5.5MHz. Componentrecording provides wide 1.5 MHz colorbandwidth.

Can record up to 184 minutes using aPDV-184ME cassette. When equippedwith three fully charged NP-F930/B bat-teries continuous operation (with zoom-ing) up to 4 hours is typical.

Incorporates a DV input/output connector(IEEE1394) standard. When connectedwith the DSR-30 or similarly equippedVCR, video, audio and data can bedubbed with virtually no loss in quality.

3-CCD Camera System The DSR-200A utilizes a dichroic prism

that divides the image into its separate red,green and blue light components anddirects them to one of three 1/3˝ CCDs,each with 410,000 active pixels. The resultis CCD imaging using over 1.2 millionpixels, providing incredible color fidelityand dramatically improved signal-to-noiseratio. Also offers superb sensitivity of only3 lux minimum illumination.

Professional Viewfinder Precision 1-inch black & white viewfinder

provides stunning details (over 550 linesof resolution), allowing easy focus evenwhen shooting in low contrast lighting sit-uations. The viewfinder also incorporatesan OSD (on screen display) which showsTime Code, battery time and tape remain-ing, and camera conditions. The displaycan be switched on or off, enabling you tofocus with an uncluttered viewfinder, ifyou prefer.

Super SteadyShot Using a Proprietary Motion Sensing

system, Sony’s Super SteadyShot reduceshigh frequency camera shake withoutcompromising image quality. Unlike otherstabilization systems, SteadyShot uses hori-zontal and vertical motion sensors thatallow it to work accurately while zooming,moving (even shooting from a car), andshooting in low light conditions. Andbecause Super SteadyShot uses an ActivePrism and Precision CCD imagers, yourpictures remain superb, with no loss ofdetail or reduction in size. In fact, theeffect from Super SteadyShot is so subtle,yet so critical to the quality of your video,you will never want to shut it off.

10x Optical/20x Dig. Zoom Variable servo 10x optical power zoom

lens goes from 5.9 to 59mm in 1.7 to 24seconds. The zoom rocker is continuouslyvariable, right up to where the digital 20xzoom kicks in. If you do not want the dig-ital zoom, you can disable it in the menu.

Built-in TBC Built-in time base corrector (TBC) deliv-

ers jitter-free playback and perfect stills.Also provides powerful error-correctioncircuitry for clean picture playback, evenwhen two of the tape’s ten tracks are miss-ing, thus eliminating dropouts.

Time/Data Codes Stores Photo, Date/Time, Shutter Speed,

Iris, Gain and F-stop for easy recall. If youhave to reshoot, you know your originalsettings for every scene and frame.

Records DF (Drop-Frame) and NDF(Non-Drop-Frame) time code for preciseediting. Time code is read either as RC Time Code with an accuracy of ±5frames or as SMPTE with ±0 frame accu-racy when used with RS-422 VCRs. TCReset button allows time code to be resetto “00:00:00:00”. Time and date can besuperimposed on the video output signal.


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The optional NPA-1000/B holds three NP-F930/B Battery Packs. Even during shooting, abattery can be exchanged without interruptionof any camcorder functions (hot swappable), aslong as there is another battery in the camcorderthat is functioning.

Using a Sony NP-F930 Rechargeable Battery,you get up to 90 minutes of continuous record-ing time. It takes 3 hours to charge an NP-F930/B in the supplied charger and 21⁄2 hoursinside the camcorder. They can be simultane-ously charged in about four hours.

Although it only has a 4:3 image sensor, itcan capture 16:9 aspect ratio pictures byprocessing them digitally. Shoot cinema-like 16:9 images, and display them onmonitors at full screen.

Control L remote terminal for direct edit-ing capability between the camera and theSony DSR-30 DVCAM VCR, or anyControl L video editor.

Built-on square lens hood reduces externallight flare effect.

Supplied RMT-806 Remote allows basiccommands like recording and playback tobe performed.

Magnesium body offers a very light-weight, yet durable shell. Weighs only10.8 lbs. with NP-1000/B Battery Holderand three NP-F950 batteries.


NPA-1000/B Battery Holder

Digital effects include audio and videofade to black (with the audio increas-ing/decreasing at fade-in/fade-out),Overlap and Slow Shutter. In Overlapmode, the last frame of the precedingscene dissolves to the action beingrecorded. In Slow Shutter, it is possibleto record in very low levels of light,albeit with MTV strobe-like effect.

You can make a time-lapse recording toautomatically record flowers blooming ora rising sun. Recording time is selectablefrom 0.2 to 2 seconds and intervals from30 seconds to 10 minutes.

Frame Recording mode lets you make arecording with a stop-motion animatedeffect. You move the subject a little, andthe camera can record six frames beforegoing into stand-by mode.

Digital Effects

Photo Mode The unique Photo Mode allows recording

of high quality, Still Image pictures withcorresponding Audio for up to seven sec-onds. Using new Adaptive FrameInterpolation (AFI) technology, images aresmooth and clear without jagged edges or“stair-stepping” typical of most still pic-tures from video. You can play backimages on a monitor, or print them outwith almost photographic quality, using avideo printer. Images can be searched forby date/time when utilizing DVCAMtapes with Cassette Memory.

Digital Audio PCM digital audio technology delivers high

fidelity sound and dynamic range of 96 dB.

Records and plays back 16-bit/48 kHz audioon one stereo track or 12-bit/32 kHz withtwo pairs of stereo tracks (L1/R 1, L2/R2), soyou can add stereo music or narration.

Has automatic and manual (20-step) audiolevel record controls. This is important,because you cannot record good audio with-out manual audio gain. Monitor the audiowith headphones, or from the LCD panelwhich has an active VU meter.

Has a one-point stereo electret condensermicrophone for clear stereo separation.Directivity can be selected from 0°, 90° and120°. audio Digital Signal Processing (DSP)provides additional wind noise reductionwithout harsh filtering, to maintain audioquality.

Equipped with XLR connectors for connec-tion to professional microphones. Mic orline level input can be selected.

Audio and video are recorded on separateareas of the tape. You can add audio trackslater and insert edit video without affectingthe original audio track — true video onlyinsert editing.

Exposure Control Automatic or manual focus, Iris, Gain Shutter and

White Balance. Iris is adjustable in 12 levels, fromf/1.6 to f/11. Shutter speed is adjustable from 1/4 to1/10,000 of a second in 12 steps. Gain is adjustablefrom -3 dB to 18 dB in 8 steps.

Built-in ND (Neutral Density) filter allows you to workin the middle of the camcorder’s f-stop range, even under bright conditions.

Zebra pattern indicator places black andwhite lines in the viewfinder where por-tions of the picture exceed a certainbrightness level - an excellent guide foradjusting shutter speed and exposure.

Custom Preset function lets you preset,store and recall your own custom settingsfor color intensity, White Balance (bluish orreddish), sharpness and brightness.

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Three 1/3˝ IT CCDs with380,000 pixels (effective)each

Gain:Auto/Manual (-3, 0, +3, +6,+9, +12, +15, +18 dB)

Minimum Illumination3 Lux with f/1.4 Max. Gain

S/N Ratio: 60 dB

Horizontal Resolution:550 Lines (Luminance Signal)

White Balance:One-push Auto/ATW/5800K/3200K

Shutter Control:Auto/Manual (1/4, 1/8,1/15, 1/30, 1/60, 1/100,1/250, 1/500, 1/1000,1/2000, 1/4000, 1/10000)

Microphone:Built-in one-point stereo-type electret condensermicrophone. Directivity isselectable (0°/90°/120°)

Viewfinder:1˝ B&W CRT


Stereo Mini-Mini Jack x 1

DV Input/Output:4-pin Jack x 1 (IEEE1394)

Video Output:Composite video: (BNC)S-Video: (4-pin)

Audio Output:Phono Jack x 1 (Stereo)

Audio Input:External: XLR x 2 (Mic/LineSelectable)

Microphone Input:Stereo Mini Jack x 1

Headphone Input:Stereo Mini Jack x 1

DC Input:4-pin for DK-715 Cable

RFU DC Output:Special Mini Jack x 1 (DC 5v)

ZOOM LENSFocal Length: 5.9 to 59mm

(10:1) and 20:1 DigitalIris: Auto/Manual (f/1.6 to

f/11) and CloseFilter Diameter: 52mm

GENERALPower Consumption:


Dimensions:85⁄8 x 93⁄8 x 183⁄4˝ (WxHxD)

Weight:12.8 lbs.

Supplied Accessories:RMT-806 Wireless RemoteS-Video Cable

i.Link Digital Interface

With the DSR-200A, your optionsdo not end with recording. Equippedwith DV interface, you can outputdata as a digital signal to other DVcompatible equipment. This meansyou can edit multiple generationswith virtually no deterioration of pic-ture or sound quality. Since the DVinterface supports the IEEE1394communications protocol, video andaudio can be downloaded directlyinto your hard drive.

Two simultaneous signals may flowat one time over a single connection.

Audio, video and aux data can besent using one DV cable — simpledesign, simple connection.

Up to 63 devices can be daisychained.

Signal is bi-directional, meaning eachDV device can be a player or recorderwithout changing the connection.

Optional Accessories

AC-V615/B AC Adapter/Charger ........134.95

DSBK-201 Adapter for WRR-810A Wireless Mic Receiver ..........................179.95

ECM-672 Electret Condenser Mic ......419.95

CAC-12 Microphone Holder................164.95

DSR-200A (Basic Camcorder Package):Includes RMT-806 Wireless Remote Control,AV Stereo Cable, S-Video Cable and ShoulderPad.

PAC DSR-200A (Camcorder and AccessoryPackage): Includes DSR-200A, ACCKIT-201, LC-200CP Hard Case, VCT-U14 TripodAdapter Plate, RMT-806 Wireless RemoteControl, AV Stereo and S-Video Cable andShoulder Pad.

ACC KIT-201 Includes:

3 NP-F950/B Battery Packs

NPA-1000B Battery Holder

AC-V900/B 3-Position BatteryCharger/AC Adapter

DK-715 DC Cable

DSR-200A Packages & Accessories

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1/2-inch 3-CCD DVCAM CamcorderInheriting many of the same features and functions as the DSR-130, theincredibly affordable DSR-300 actually extends operational conveniencewith a range of new features and peripheral products. Remarkably compact

and lightweight, the DSR-300 provides high mobility without compro-mising picture quality and can be held comfortably on your shoulder

through the longest shoots. To achieve superior picture quality, it incorporates 10-bit Digital

Signal Processing, Power HAD CCDs and high qualityDVCAM recording. Packing functionality, comfort and superbpicture performance into a small and stylish body, the DSR-300is the ideal tool for field acquisition applications, including

video journalism, wedding videography, corporate communica-tions and more.


2/3-inch 3-CCD DVCAM CamcorderThe introduction of the DSR-300 gave shooters suchas video journalists the ability to acquire their footagequickly and easily, because the required functionality andperformance was packed into the camcorder. Butin the meantime, the next generation ofwidescreen TVs has been introduced and thedemand for video material in 16:9 widescreenhas greatly increased not only in broadcasting,but also in the event and corporate markets.

To meet this demand, Sony offers the DSR-500WS Widescreen Digital Camcorder. The newest memberof the DVCAM line-up, the DSR-500WS offers outstanding picture quality by adopting full Digital SignalProcessing and three 2/3-inch Power HAD WS (Wide Screen) CCDs which are specifically designed for a 16:9aspect ratio, switchable to 4:3.Incorporating most of the functions of the DSR-300, the DSR-500WS extends the mobility, operational convenienceand system flexibility with a range of peripheral products. Built-in digital output of the i.LINK interface for backupand simple field editing is just one example. The DSR-500WS can be used for a wide variety of field acquisition appli-cations including video journalist, event photographer, news gathering for broadcasting and more.

• Camera Section with Full Digital Processing • Component Digital Transfer from Camera to the Recorder • Digital Recording

The DSR-300 and DSR-500WS are “True Digital Camcorders” with the signal maintained in the digital domain. This allows forhigher image quality, free of artifacts and the loss of resolution typical of multiple A/D and D/A conversions.

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S O N YDSR-300/DSR-500WS

Superior Image Quality The DSR-300 has three 1/2-inch IT

Power HAD CCDs to deliver 800 linesof horizontal resolution, 62dB S/N ratioand high sensitivity of F11 at 2000 lux.

The DSR-500WS is equipped with three2/3-inch 520,000 pixel PowerHAD WSCCDs. Achieves 700 lines of horizontalresolution, sensitivity of /11 at 2000 luxand a 63 dB S/N ratio. (Note: 700 linesof resolution at 16:9 is equivalent to 930lines when converted to 4:3).

Power HAD CCDs also gives you a lowsmear level of -110 dB (DSR-300) and -120 dB (DSR-500WS) , allowing morefreedom to shoot highlighted subjects.

DVCAM format uses 8-bit componentdigital recording with 5:1 compressionand 4:1:1 sampling to provide superiorpicture quality, superb multi-generationcapability and production flexibility.

Powerful Shooting Aids Like expensive 2/3˝ CCD cameras, they

offer four built-in filters allowing you torecord under virtually any lighting:3200K/3000K (switchable via menu),5600K, 5600K+ 1/8 and 5600K+ 1/64.

They offer two types of zebra patterns.Zebra 1 can be set within a range of 70to 90 IRE in IRE steps. Zebra 2 pro-vides a pattern in any area with a morethan 100% video level. Either can be dis-played or both simultaneously.

The DSR-300 has a 3-mode matrixadjustment for optimum color reproduc-tion in different shooting environments.This control provides alternative chromasaturation and hue parameters for STD(Standard), H.Sat (High Saturation) andFL (Fluorescent ) lighting conditions.The DSR-500WS has eight setup files thatcan be used with the dedicated VF MenuSystem (a control menu with superim-posed characters on the viewfinder). Fivefiles are factory preset to accommodatethe five most common lighting situa-tions, such as Standard, High Saturationand Fluorescent. In addition, the threeUser Files allow you to custom set cam-era parameters to match a particularshooting situation.

They incorporate 10-bit DSP LSI technology to deliver incredible picture performance andunique functions like the TruEye process and DynaLatitude function.

Ease of Operation

10-Bit DSP (Digital Signal Processing)

Total Level Control System(TLCS)

With TLCS. even if incoming light isabove or below the range of the automaticIris Control, they are still able to achievecorrect picture exposure by using the IrisControl in combination with Auto GainControl (AGC) and CCD Auto Exposure.This ensures ease of operation, while alsomaintaining low-noise characteristics.

Auto Tracing White Balance(ATW)

Provides tracing of the white area fastenough to meet the most professionaldemands. Also improves the accuracy ofwhite balance adjustment.

EZ Focus FunctionLets you focus precisely without stoppingdown the lens. EZ Focus automaticallyopen the iris, reducing the depth-of-field,making critical focusing easier. At the sametime, the shutter is automatically set toobtain the correct light level. EZ Focus isoverridden while recording.

EZ ModeBy pressing the EZ Mode button, the camerasare instantly set to a standard or auto position.The DSR-300/500WS have a choice of twoEZ Modes - Standard or Custom. When set toCustom, the camera setting is changed inaccordance with the selected menu setting.

To ensure the best possible results when there is no time to set up, the DSR-300/500WSincorporate automatic modes for exposure, white balance and even to help you focus.

They have a Switch Guard to prevent misoperation of EZ Mode, Auto Iris and ATW buttons. The guard has tiny holes so you can see the LED indicators for the buttons while shooting.

TruEye ProcessIn conventional RGB Analog or Digitalprocessing, some Non-Linear signal pro-cessing takes place after gamma correctionand can result in hue factor distortion -particularly obvious in extreme highlightconditions. TruEye virtually eliminates thisby managing video data at three levels:Brightness, Hue and Saturation – the sameas the human eye. The result is imageswith a wide dynamic range and withouthue distortion.

DynaLatitude FunctionUtilizes the limited dynamic range of thevideo signal by adaptively managing thecontrast of each pixel. Brings a new dimen-sion to features like Dynamic ContrastControl (DCC).

Skin Detail FunctionGive your subjects a pleasing facial com-plexion, while maintaining the sharpnessof other areas. The designated active areaof Skin Detail is set by adjusting the AreaDetect Cursor on the viewfinder screenand using the Skin Set button. Color rangeand detail level can also be set from theviewfinder. Capable of color and detailcorrections within the full range of visiblespectrum (360° range).

Black Stretch/CompressFunction

With this function you can variably adjustcontrast in the Black area of the image.Black Stretch emphasizes contrast in thedark area, while Black Compress enhancesor deepens darkness.

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Enhanced Functionality Directly attach an optional Anton Bauer

Ultralight 2 to the DSR-300/500WS viatheir video light connector. Powered fromthe camcorder battery, light On/Off canbe controlled manually or can be synchro-nized automatically with the REC startfunction of the DSR-300/500WS.

Jog Dial They incorporate a Jog dial that controls

the viewfinder menu. Simply select thedesired menu item, and set the value witheasy, one-fingered Jog dial operation. TheJog dial means fewer button/switches arerequired contributing to their simplicity.

Setup Log Information of the most relevant setting

parameters for every shot is automaticallyrecorded on the VAUX (Video Auxiliary)area of DVCAM cassette tapes. This func-tion is called Setup Log. It is useful for thecamera operator not only when the sameshot has to be retaken, but also whenreshooting or operating conditions have tobe checked during a particular shoot.

Monitor Out The DSR-300/500WS are equipped with

a monitor output (BNC). By connectingan external video monitor, you can checkshooting conditions with superimposedcharacters displayed on the viewfinder.(Character superimposition can easily beswitched on or off ).

Full Color Playback They allow full color playback in the field

without an external adapter, making iteasy to verify recording results. Materialcan be reviewed in the viewfinder withtwo channel audio signals.

Scene Files With the optional RCP-TX7 Remote

Control Panel (see page 85) up to 16 scenefiles can be created and stored. Almost allthe parameters for DSP functions andcamera set-up can be stored. Instant recallusing the menu button on the RCP-TX7.

Die-cast aluminum body makes theDXF-701WS extremely durable. Theviewfinder position can be adjusted in abroad horizontal plane.

Large diameter eyecup not only easeseyestrain, but also simplifies focusing.Wide range of diopter adjustments (-3 to 0) is provided to compensate fordifferences in eyesight.

Has a TAKE tally lamp for use with theClipLink system. TAKE tally can alsobe used as a second tally lamp.

In addition to the stan-dard REC tally above theviewfinder screen, another REC tally islocated below the screen to preventoverlooking the REC tally indication.The second tally lamp is on/off switch-able via the menu.

Both vertical and horizontal detail lev-els can be variably adjusted by thePeaking potentiometer on the viewfind-er body, while monitoring the ratio ofboth levels.

DXF-701WS Viewfinder They include the DXF-701WS, a high resolution 1.5˝ blackand white viewfinder with switchable 4:3/16: 9 aspect ratio.Additional features include:

Widescreen Switchable A true widescreen switchable camcorder,

the DSR-500WS incorporates a 16:9 wideaspect CCD to offer superb widescreenpictures or conventional 4:3 aspect pic-tures as well.

Equipped with three 2/3-inch PowerHAD WS IT CCDs with a high packingdensity of 520,000 pixels (total)/ 480,000pixels (effective). Since the CCD is origi-nally designed for 16:9 with 4:3 capability,high quality images are achieved in the16:9 mode with virtually no image loss.

16:9 and the 4:3 safety zone shooting arepossible on the DXF-701WS.

When shooting 16:9 images, the DSR-500WS automatically adds a wide aspectID pulse signal, which indicates that thepicture is shot in 16:9 aspect ratio, throughthe video output signal. The informationof 16:9 is also recorded onto the VideoAuxiliary (VAUX) area in the DVCAMtape, together with video signals.

Optional Analog Input When only a few cameramen are delegated

to a press conference, the DSR-500WS canbe configured as a recorder for “Pool FeedOperation”. Requires the optional DSBK-501 Analog Composite Input Board.

SetupNavi A camera setup file storage function,

SetupNavi is used to store the User Filesor Factory Preset Files of the DSR-500WSdirectly onto VAUX (Video Auxiliary) dataterritory of the DVCAM cassette tape. Thedata can be stored on and recalled from theDVCAM tape via the VF Menu System.

DV Output 6-pin i.LINK DV output (only) allows a

back-up recording of DV and DVCAMVCRs with just one cable. The i.LINK cablecarries digital video/audio signals and controlsignals allowing the DSR-500WS to beconnected to the Sony DSR-70 Field Editorfor simple field editing (the DSR-500WSis set up as a feeder.).

DSR-500 Exclusive Features

Clear Scan and Color BarsThey both feature Clear Scan enabling you to shoot computer monitors without horizontalbands and flicker. This is accomplished by precisely selecting a shutter speed that matches thescanning frequency of the computer display. Shutter speeds range from 60.4 Hz to 200.3 Hzand are selectable in 183 steps in this range. They also have built-in SMPTE color bar genera-tor, as well as a 1 kHz audio signal generator.

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The DSR-300/500WS offers the unique and convenient ClipLink operation whenthe optional Sony DSBK-301 Index Picture Board is installed. ClipLink is a com-prehensive shooting information and image management system necessary for thetotal digital production process, ranging from acquisition to editing.

ClipLink OperationConveniences The DSR-300/500WS are equipped with a

“DynaFit” shoulder pad. Made of a shape-memory material, this innovative shoulderpad does not require forward/backwardadjustment. It completely molds to anyshoulder without slipping, maintaining avery good balance.

With built-in 26-pin VCR interface, theycan feed composite or S-Video output sig-nals to an external recorder for parallel orback-up recordings. VCR recording modesincluding Parallel, Internal (only) andExternal (only ) are selected via the triggerswitch positioned on the operational panel.

They incorporate an Edit Search function.Its control button is located on the sidepanel to allow easy access while shooting.

For operational convenience while shoot-ing, the Time Code is superimposed on theviewfinder screen or MONITOR OUTscreen, even during playback.

With conventional cameras, it is very diffi-cult to shoot in the same framework andreposition the subject when you need tore-shoot. With the DSR-300/500WS, apicture previously recorded on tape can besuperimposed on the viewfinder screen(Freeze Mix Function), allowing you toeasily frame or reposition the subject justas in the previous shot. Combined withthe Setup Log function, the retake shotbecomes a breeze.

They boast remarkably long recordingtime. Both mini cassettes (PDVM series)and standard cassettes (PDV series) can beused with the DSR-300/500WS. WithPDV-184ME (standard), they provide amaximum recording time of 184 minutes.They can also play back tapes recorded inthe consumer DV format.

By adopting high-density circuit boardsand a smaller recording head drum, theyare remarkably small and light. DSR-300weighs only 5.7kg (12.9 lbs) and theDSR-500WS only 6.3 kg (13.9 lbs 9oz)including lens, microphone, viewfinder,tape and lithium-ion battery.

Consuming only 20 and 24 watts ofpower (respectively), a maximum of 70and 80 minutes recording time can beachieved with one fully-charged BP-L40Lithium-ion battery.

ClipLink, in combination with the DSR-300 or DSR-500WS, a DSR-80 or DSR-85DVCAM VCR and the ES-3 or ES-7 EditStation, enhances productivity and operat-ing efficiency throughout the entire video production process. ClipLink data can bequickly uploaded to an Sony ES-3 or ES-7 EditStation from a DSR-85/80/60 sothat usable shots can be easily selected using only visual ClipLink information dis-played on the EditStation’s GUI. Eliminates the task of loading all shots on tapeonto an ES-3 or ES-7 EditStation.

Two types of information (ClipLinkdata) are automatically generated whileshooting. First is Index Picture, which isa digitally miniaturized picture of thevideo image of the “MARK IN” pointof each shot. Index Pictures are recordedon DVCAM tape.

The second is shot information neededfor the editing process, such as the reelnumber, scene number, take number,time code of the Mark-In/Mark-Outpoint, and OK/NG status. This refer-ence data is stored in the memory of theDVCAM tape.

Optional Wireless Microphone Adapter

A wireless receiver case has been developed specifically toaccommodate the Sony WRR-855A Wireless receiver. The SonyCA-WR855 Camera Adapter attaches directly to the DSR-300/500WS via a V-shoe attachment and a direct audio-powerconnection interface. A lithium-ion battery can also be directlyattached to the rear panel of the CA-WR855 via the V-shoeattachment. This allows easy battery replacement, even whenthe WRR-855A is mounted.

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Equipment Leasing Available

GENERALPower Requirements:

DC 12v (11-17v)

Power Consumption:DSR-300: 22.1w with VFDSR-500: 26.1w with VF

Record/Playback Time:Standard Size:184 min. w/PDV-184MEMini Size:40 min. w/PDVM-40ME

FF/Rewind Time:Standard SIze:12 min. w/PDV184MEMini Size:3 min. w/PDVM40ME

Record Time: DSR-300: 80 min. w/BP-L40DSR-500: 70 min. w/BP-L40DSR-300: 180min. w/BP-L60ADSR-500: 140 min. w/BP-L60ADSR-300:290 min. w/BP-L90ADSR-500:230 min. w/BP-L90A

Weight:DSR-300:12 lbs 9ozDSR-500 13 lbs 9oz(with viewfinder, lens, mic,BP-L40 battery, tape)


DSR-300: 1/2˝ Interline-Transfer CCD (x3)DSR-500: 2/3˝ Interline-Transfer CCD (x3)

Built-in Filters:1:3200K/3000k (switchable)2:5600K +1/8ND 3:5600K 4:5600K +1/64ND

Lens Mount:DSR-300: Sony 1/2˝ Bayonet MountDSR-500: Sony 2/3˝ Bayonet Mount

Horizontal Resolution:DSR-300: 800 LinesDSR-500: 16:9/4:3 = 700 Lines

Vertical Resolution:400 Lines (w/o EVS), 450 Lines (w/EVS)

Minimum Illumination:0.5 Lux with f/1.4, Hyper Gain (30 db+DPR)

Sensitivity:F11 at 2000 Lux )

Gain Selection:-3 dB, 0 dB, +3 dB, +6 dB,+9 dB, +12 dB, +18 db 18 dB+DPR, +24 dB, 24 dB+DPR, Hyper Gain (30 dB+DPR)

Shutter Speed Selection:Off, 1/100, 1/250, 1/500,1/1000, 1/2000 sec.

Clear Scan Selection:60.4 to 200.3Hz

S/N Ratio:DSR-300: 62 dB DSR-500: 63 dB

AUDIO Frequency Response:

48kHz: 20Hz to 20kHz 32kHz: 20Hz to 14.5kHz

Dynamic Range:More than 80 dB

INPUTSGenlock Video Input: BNC Time Code Input: BNCMic Input: XLR 3-Pin

External Audio Input:CH-1/2: XLR 3-pin FemaleAnalog Video Input (DSR-500 Only): BNC w/optional DSBK-501 board

OUTPUTS26-pin: (Composite,Component, S-Video)Composite Video Out: BNCS-Video Output: 4-pinMonitor Output: BNCTime Code Output: BNCAudio CH-1/2: RCA DV Out : (DSR-500 Only)i.Link, 6-Pin, IEEE-1394

OTHERS:DC In: XLR 4-pin, Male

DC Out: 4-pin, Female

Battery Terminal: 5-pin

Earphone: Mini-jack

Light Out: 2-pin female

WRR Out: 7-pin

Lens: 14-pin (hot-shoe) or 12-pin

Viewfinder: 20-pin

Remote 1: Stereo Mini

Remote 2 10-pin


Video Journalist Microphone Remote Control Unit for DSR-300/500WSAn exclusive accessory for the DSR-300 and DSR-500WS, the Sony RM-VJ1 Remote Control Unitis a compact, mobile and highly reliable remote controller with built-in professional microphone andLCD screen. Directly connecting to the camcorder via a CCA-7-7A cable, the RM-VJ1 enables theoperational convenience for one-person operation. Simply put the camcorder on a tripod, and composeyour shot using the LCD monitor. Then, report or perform an interview by yourself—without theneed of a camera operator.

Incorporates a 2.5-inch color TFT LCD monitor for framing orcomposing a shot. The LCD has a brightness control and monitorhood for field use. Moreover, a LCD back light OFF switch isavailable for saving power.

High quality omni-directional microphone with volume controlfunction. Sony lavalier mics like the ECM-44BC/55BC/77BC canbe substituted for additional flexibility.

Company name label can be attached.

RM-VJ1 offers remote controlof camcorder functions includ-ing REC Start/Stop, RECReview, and TAKE and NGmarking for ClipLink opera-tion. In addition, remoteZoom/Focus control is possible when a Canon or Fujinon lens withthe newly-developed Interactive Technology function is attached tothe unit via 12-pin connector.

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BP-Series Lithium-ion Batteries: Developed specifically for these cameras,the BP-L40/60/90 are compact lithium-ion batteries that match the bodyheight of the DSR-300/500WS. They have a high charge capability, pro-viding continuous camcorder operation for approximately 80 minutes.And since lithium-ion batteries do not suffer from a “memory effect”, theydo not have to be fully discharged to retain their full power capacity.

CMA-8A AC Power Adapter (for DXC)

DC-L1 Battery Adapter for charging NP-1B NiCad batteries

LC-423TH Shipping Case

RM-M7G Remote Control Unit

DSBK-301 ClipLink Index PictureOption Board

LCR-1 Rain cover

AC-550 AC Power Adapter

WRR-855A UHF Synthesized Tuner usingCA-WR855 Drop-In Case

LC-300SFT Soft Carrying Case Designed for the DSR-300 and the DSR-500WS, The small and lightweight (6 lbs. 13oz.) LC-300SFT has inside andoutside pockets to hold accessories likebatteries, battery charger, wireless receiver,and other items — as well as the cam-corder with a lens, viewfinder and micattached. A robust shoulder belt makes iteasy to carry.

Lithium-Ion Battery Power System Optional Accessories

DSR-300 Packages DSR-500WS Packages

BC-L50 Sequential Two-Position Lithium-ion Battery Charger

Compact and easy to carry the BC-L50quickly charges up to two BP-L40 Lithium-ion batteries using a unique new time-savingcharging system. Conventional charging sys-tems only start to charge the second packwhen the first is 100% charged. Whencharging two battery packs at the same time,the BC-L50 begins to charge the secondpack when the first is 80% charged.

The BC-L50 has a carrying handle and aretractable foot to stabilize it during charg-ing. Both the foot and the handle retractinto the unit when not in use. Charge indi-cators flash or light up to indicate the statusof up to two installed battery packs.

BC-L100Simultaneous 4-Position Charger forLithium-ion and Nicad Batteries.

Compact, lightweight and easy-to-carry, the BC-L100 can simultaneouslycharge any combination of four BP-L60,L90 and NP-1B batteries. Refresh functionautomatically discharges NP-1Bs beforecharging them to eliminate “memory effect”


DSR-300LDSR300 3-CCD 1/2-inch DVCAM CamcorderRM-LG1 Remote Control UnitVCT-U14 Tripod AdapterDXF-701WS 1.5˝ Viewfinder

DSR-300 Basic PackageDSR300L DVCAM Camcorder PackageS14X75HS Fujinon 14:1 LensLC300SZ Soft Case

DSR-300 ENG PackageDSR300L DVCAM Camcorder PackageYH18X67HS Canon 18:1 Lens BCL50 2 Position Battery Charger(2) BPL40 1 Hour Lithium-ion BatteriesLC300SZ Soft Case

DSR-300 Anton/Bauer PackageDSR300L DVCAM Camcorder PackageYH18X67HS Canon 18:1 Lens(2) H50 Anton Bauer Hytron 50 BatteriesQ2 Anton Bauer ChargerQRD700 Anton Bauer Gold-MountLC300SZ Soft Case

DSR-500WSLDSR500WS 3-CCD 2/3-inch DVCAM CamcorderRM-LG1 Remote Control UnitVCT-U14 Tripod AdapterDXF-701WS 1.5˝ Viewfinder

DSR-500WS Basic PackageDSR500WSL DVCAM Camcorder PackageYJ18X9BKRS Canon 18:1 Lens

DSR-500WS ENG PackageDSR500WSL DVCAM Camcorder PackageYJ18X9BKRS Canon 18:1 LensBCL50 2 Position Battery Charger(2) BPL40 1 Hour Lithium-ion BatteriesLC300SZ Soft Case

DSR-500WS Anton/Bauer PackageDSR500WSL DVCAM Camcorder PackageYJ18X9BKRS Canon 18:1 Lens(2) H50 Anton Bauer Hytron 50 BatteriesQ2 Anton Bauer ChargerQRD700 Anton Bauer Gold-MountLC300SZ Soft Case

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DVCAM Digital VCRThe DSR-30 is an industrial-grade DVCAM VCRwith a host of features that makes it ideal for afford-able recording and playback as well as simple editingof DVCAM tapes. Equipped with a Control L inter-face and i.LINK (IEEE1394) digital input and out-put, it can be used as an edit controller and editingrecorder for the DSR-200A DVCAM camcorder oranother DSR-30. Also use for archiving analog footage when connected to other Control L-based recorders. It also fea-tures high quality digital audio, external timer recording and continuous Auto Repeat playback function, making itideal for kiosks and other point of information displays. The DSR-30 can accept both mini and standard DVCAM cas-settes for up to 184 minutes of recording time, and can play back consumer DV tapes as well.

Digital Record/Playback The DSR-30 utilizes the DVCAM format

to deliver the highest quality video forprofessional use. 8-bit component digitalrecording with a 5:1 compression ratioand 4:1:1 sampling provides superb pic-ture quality and excellent multi-genera-tional performance.

Digital Audio Two selectable Audio channel modes:

PCM (Pulse Code Modulated) digitalaudio can be recorded at either 48k Hz(16-bit, 2 channel) for DAT quality audio,or at 32k Hz (12-bit, 4 channel), where anadditional two tracks of audio can beadded over previously recorded portions.

DVCAM also features Audio Lock toensure that the audio is fully synchronizedwith the video for absolute precision whendoing an insert edit. (DV format does notoffer Audio Lock.)

Analog Compatible Analog composite, S-Video and audio

(RCA) inputs/outputs make it fully com-patible with Hi8 and S-VHS VCRs.Offers compatibility with consumer DVtapes as well. Of course tapes recorded inthe DSR-30 are compatible with Sony’shigh-end DVCAM VCRs.

Editing Capabilities Equipped with Control-L, the DSR-30,

can be hooked up to another Control L-based recorder and perform SMPTE TimeCode based accurate editing – even with-out an edit controller. Built-in editingfunctions include assemble and separatevideo and audio insert. In assemble editmode, up to ten scenes can be automati-cally assembled in any order chosen bytheir “In” and “Out” points. When usedwith the FXE-120, the DSR-30 can serveas a player/feeder in an A/B Roll setup.

i.LINK DV Interface i.LINK (IEEE 1394 ) input/output on the

DSR-30 allows digital dubbing of video,audio and data to or from a similarlyequipped VCR with virtually no loss inquality.

Clear Frame Picture Using Frame Interpolation technology, the

DSR-30 can detect motion between twofields within a frame and compensate forpicture blur, providing a clear frame picture - even from moving images.

Conveniences Supplied RMT-DS30 Wireless Remote

provides basic VCR function control. Itcan also control multiple DSR-30s whenthey are connected via the Control-Sinterface, by simply sending one com-mand to the master deck.

Dual cassette mechanism allows use ofboth standard and mini size DVCAMtapes without an adapter.

Has stereo mini jacks for a headphoneoutput and microphone input on thefront panel for operational convenience.

Function lock inhibits any misoperationof the front panel or the control tray.


Built-in control tray has a Jog/Shuttle dial and VCR Edit function buttons. The tray can also be easily extended from themain unit for added convenience. The Jog/Shuttle dial allows picture search at±1/5 to 15x normal speed (in forward andreverse) with audio playback at the samespeed. With the control tray you have controlof not only the DSR-30, but also a playerhooked up through its Control-L interface.





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Automatic Repeat In Auto Repeat Playback mode, the

DSR-30 rewinds the tape just after thetape reaches the end; at the end of a pro-gram,; or at the first index point. It thenautomatically starts playing back thatsegment again.

External Timer Recording When connected to an external timer,

and the EXT Timer Record switch is setto on, the DSR-30 will automaticallystart recording as soon as the AC poweris turned on.

Index Search The DSR-30 can search for index points

that are recorded on the tape as a marked“In-point” every time a recording is start-ed. It can also search for the photo datarecorded on a cassette by the DSR-200ADVCAM camcorder, or the point wherethe recorded data has been changed to anew one.

One Program Playback In the One Program Playback mode, the

DSR-30 automatically rewinds the tapeto the beginning after playing back theprogram, then enters Standby mode. Inkiosks, for example, the video playbackcan be started at the touch of a button.


Optional LANC Interface BoxIf you want to use the DSR-30 on the record side of a professional editing system (meaningwith an RS-422 Edit Controller), you can, with the the Sony IF-FXE2 LANC Interface Box.With the IF-FXE2 you can control the DSR-30 from an FXE-120, PVE-500 or RM-450 andperform cuts editing.


Power Source:120v AC 50/60Hz

Power Consumption:32w

Operating Temp:41° F to 104°

Recording Time: 184 minutes (with PDV-184ME)

Dimension:17 x 51⁄8 x 14 3⁄4˝ (WxHxD)(430 x 129 x 374 mm)

Weight:20.5 lbs. (9.2kg)

Rewind Time:Less than 2 minutes with PDV-184ME

Search Speed:-2, -1, -1/5, Still, 1/5, x1,x2, Cue/Review (10 or 15 times)


S-Video: (4-pin) x2Composite: (BNC) x1

Output :S-Video: (4-pin) x2 Composite: (BNC) x2


Phono Jack x2 (Stereo)

Output:Phono Jack x1(Stereo)


DV-Type, 4-pin jack x1 (Conforms to IEEE-1394)

LANC (Control L):Stereo Mini-Mini Jack x 2

Control S In/Out:Mini Jack x 1

Headphone Jack:Stereo Mini Jack x 1

Mic Input:Mini Jack x 1(Low Impedance)


Specialized Playback andRecord Functions

What is LANC?LANC is an acronym for the Local Application Control bus system. It is a bi-directional wiredcommand protocol designed by Sony to control video products. LANC is mainly used forconsumer video products to connect a wired remote control, to operate two video productswith synchronization, etc. The LANC port is labeled as LANC, Control L, or Remote,depending on the product.

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DVCAM Player/RecordersThe DSR-20 and DSR-40 are versatile DVCAM VCRs withcompact chassis’ and a variety of convenient functions forrecording, playback and simple editing. They feature AutoRepeat Playback, Power-On Record/Playback, multiple machinecontrol interfaces and i.LINK (IEEE1394) input and output.And, of course, they offer the stunning image and sound qualityinherent to the DVCAM format.

DVCAM Quality They utilize the DVCAM format to pro-

vide the recording/playback quality andreliability required for professional use.They can also play back consumer DVformat tapes without any special adapter.

They offer two selectable audio modes; a2-channel mode with 48 kHz/16-bitrecording and 4-channel with 32 kHz/12-bit recording.

Dual-size cassette mechanisms acceptboth, mini size (up to 40 minutes) andstandard size DVCAM tapes (up to 184minutes) without an adapter.

i.LINK They both offer i.LINK (IEEE1394)

input and output. When connected toother DV equipped machines, the DSR-20/DSR-40 offer digital dubbing ofvideo, audio and data, without any dete-rioration of image and sound quality. Inaddition, a “Digital dubbing includingTC Copy” mode allows all information(including video, audio and time code) ofthe original tape to be copied to anothertape. Especially useful when makingworking copies of the original.

Inputs and Outputs They provide a full range of analog video

inputs and outputs for integration intocurrent analog-based systems. They bothoffer composite and S-Video input/out-put, while the DSR-40 (only) offers acomponent output as well. The DSR-20is equipped with analog audio inputs andoutputs (RCA), the DSR-40 with RCAinputs and XLR-balanced output. Theseconnections in combination with theiri.LINK interface allow a smooth transi-tion to an all digital system in the future.

Record/Playback Functions Automatic repeat function for repeated

playback. After reaching either the end ofthe tape, the first blank portion or thefirst index point, the DSR-20/40 auto-matically rewinds the tape, then startsplaying back the segment again.

They are capable of searching for IndexPoints, which are recorded on the tape as“in-point” marks every time a recordingstarts. They can also search for photo datarecorded on a DVCAM cassette by theDSR-200A/300/PD-100A, or where therecording date has been changed.

Reference Input External sync input enables synchronized

playback with other VCRs. In addition,the DSR-40 only allows adjustment ofH-sync and SC phase via the menu.

Control S Interface The DSR-20/DSR-40 have a Control S

input allowing control via the optionalDSRM-20 Remote Control Unit. TheDSR-20 adds a Control S output connec-tor allowing two or more (up to 50)DSR-20s to be daisy-chained and con-trolled from one DSRM-20 Remote.

With the DSRM-20 Remote Control youcan shuttle up to ±15x normal speed and±2x normal speed in jog mode. You canalso use the remote to quickly finddesired points using index signals or dateand photo mode information.

Conveniences Power-on playback capability for unat-

tended automatic playback. When con-nected to an external timer and theirTIMER switch set to REPEAT, they gointo Auto Repeat mode and start playingback the moment AC power is turned on.The DSR-20 also adds Power-On Recordcapability. When connected to an externaltimer and the DSR-20’s TIMER switch isset to REC, the VCR starts recording assoon as power is turned on.

They are both compact and lightweight(identical in size). Designed as half racksize in width and 2RU high, two DSR-20/40’s can be mounted side-by-side in a19-inch rack. They weigh 11 lbs each.


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S O N YDSR-20/DSR-40


GENERALPower Requirement:

AC: 120v, 50/60Hz DC: 12v (DSR-20)

Weight:5.0kg (11 lbs)

Dimensions (WxHxD):DSR-20 81⁄2 x 37⁄8 x 151⁄2DSR-40 83⁄8 x 37⁄8 x 151⁄2˝

Search Speed:Via DSRM-20 Shuttle: ± 1/5, 1, 2, 10, 15xJog: ±1/10, 1/5, 1, 2


i.LINK (DV in/out) IEEE1394 Based (4-pin x1)

Video Input:Composite (BNC x1)S-Video (4 -pin x1):

Video Output:Composite (BNC) x1 Monitor Out (BNC) x1S-Video (4 pin) x1:DSR-40 Adds:Component (BNC) x3

Audio Input:RCA (x2)

Audio Output:DSR-20: RCA (x2)DSR-40: XLR (x2)L: CH-1,CH-3, or CH-1/3 mixR: CH-2, CH-4, CH-2/4 mix

Headphone Jack:Stereo Mini (x1)

OTHERLANC: (DSR-20 only)

Stereo Mini-Mini Jack


Control S:Stereo Mini Jack

DC In:12v, 4-pin XLR (DSR-20)

Remote: (DSR-20 only)RMT-DS20

DSR-20 Only The DSR-20 can be powered by AC or DC. Ideal for mobile

applications, the DSR-20 can be connected to a 12v power supplylike a car battery or battery belt, and powered via the 4-pin XLRDC input.

Equipped with Control L interface, the DSR-20 can perform sim-ple time code-based editing when connected to another DSR-20or other similarly equipped VCRs/cameras, like the DSR-30,DSR-200A or DSR-PD100A. When using the FXE-120 or ES-3EditStation, the DSR-20 can serve as a player/feeder.

In addition to Control L, the DSR-20 also incorporates an RS-232interface for remote control of basic VCR functions from a PC.

Supplied with the RMT-DS20 Wireless Remote for control of basicVCR functions. And again, when two or more VCRs are connectedvia Control S, they can be simultaneously controlled from one wire-less remote by simply sending one command to the master deck.

DSR-40 Only Equipped with an RS-422A interface, the DSR-40 can per-

form as the editing player in a professional A/B roll editingsystem or cut editing system. It is also possible to add theDSR-40 to a current analog editing system. For example, inan A/B roll editing system, an S-VHS feeder could be replacedby a DSR-40. This can be very convenient when DV orDVCAM recorded tapes are to be used as source material.

Although the DSR-40 was designed as a player, it has a simplerecording function (doesn’t insert edit) which can be con-trolled either manually or via its RS-422A interface.

The DSR-40 is not equipped with a synchronization capabili-ty, the editing accuracy is performed by pre-roll and play.

DSR-20 Rear

DSR-40 Rear

DSR-20 DSR-40

RS-232C Yes —

RS-422A — Yes

Control S Input/Output Input

Control L (LANC) Yes —

Wireless Remote Controller Yes —

Component Output — Yes

Video Out Adjustment — H/SC-phase, Video

Audio Input RCA RCA

Audio Output RCA XLR

Reference Input — Yes

DC In Yes —

DSR-20 & DSR-40 Comparison

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DVCAM Series Editing VCRsThe evolution of video production to digital has brought about greatadvances in image quality and versatility. It has also correspondingly broughtan increased demand for equipment that offers greater productivity, creativi-ty and flexibility. To meet the challenge, Sony has developed DVCAM – adigital recording format for the next generation. DVCAM provides longhours of recording time, continuity with non-linear systems, and compatibil-ity with current analog and digital systems. Employing the DVCAM format, the DSR Series provide superb picturequality and incredible multi-generation performance. They offer consistentuse of the same compression scheme throughout the system to offer degrada-tion-free pictures. There are no additional compression-decompression cycles,no analog-to-digital or digital-to-analog conversions. This enables a totaldigital system– from acquisition to final editing. The VCRs also offer totalcompatibility with current editing systems, with a range of analog interfaces.The DSR Series consists of the DSR-60 Player/Feeder, the DSR-80 Recorder/Editor, and the DSR-85 High SpeedEditing Recorder. The DSR-85 executes high-speed playback and recording at up to 4x normal speed via theSDTI(QSDI) connection between Sony’s ES-3 or ES-7 EditStation. All DSR Series VCRs support Sony’s uniqueClipLink editing feature to enhance operating efficiency throughout the entire video production process, from the veryfirst stage of shooting with Sony’s DSR-300 and DSR-500WS DVCAM camcorders.

The DVCAM Format An extension of the consumer DV for-

mat, DVCAM is a digital recording format designed for professionals. Andalthough it maintains playback compati-bility with consumer DV recordings,DVCAM uses a wider track pitch toensure high reliability for the professionaleditor.

DVCAM uses 8-bit component digitalrecording with a 5:1 compression ratioand 4:1:1 sampling (same as consumerDV) for incredible multi-generation capa-bility. Using an intra-frame compressionscheme, each frame of video has 10tracks. Each track has ITI (Insert andTrack Information), Audio, Video andSubcode areas. The ITI, which is a refer-ence signal for precise tracking, and thetime code information assure highly accu-rate editing performance.

Digital Audio They provide two selectable digital

audio modes; two channels of 16-bit(48 kHz) and four channels of 12-bit(32 kHz). PCM digital stereo record-ing is used in both modes to ensuresuperb audio performance with a widedynamic range and excellent signal-to-noise ratio.

Analog Compatibility In addition to their versatile digital

interfaces, they offer a full complementof analog audio and video input/out-puts for full compatibility with existingS-VHS and Betacam SP systems and to provide a smooth, gradual transitionto an all digital system. They offer com-posite, S-Video and component inputsand outputs, as well as selectable 4 or 2 channel audio inputs and outputs.

Digital Interfaces Optional DSKB-100 SDI (Serial Digital

Interface) output and DSKB-120 SDII/O boards conform to SMPTE 259Mstandard for connection to SDI equippeddevices, such as Sony Digital BetacamVCRs for lossless editing and dubbing.The DSR-80/85 are also equipped withAES/EBU digital audio input/output asstandard. (Note: SDI is not to be con-fused with Sony’s QSDI, a proprietarydigital interface. See next page)

Time Code They have a built-in SMPTE Time Code

Generator/Reader (DSR-60 only reads) forframe accurate editing. Time Code is writ-ten in the subcode and is transmitted viathe RS-422 interface. Input and output oftime code is also possible with the optionalDSBK-130 Time Code I/O board.


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Advanced Editing CapabilitiesSDTI(QSDI) The DSR-80/85 are equipped with

Sony’s SDTI(QSDI) interface as stan-dard and is available for the DSR-60 asan option. Not to be confused withSDI, the SMPTE 259M Serial DigitalInterface, SDTI(QSDI) is Sony’s pro-prietary digital interface for handlingcompressed video, as well as the sub-code data and digital audio signals ofthe DVCAM format. WithSDTI(QSDI) you have degradation-freetransfer of video and audio signalsbetween the DSR-series VCRs and sim-ilarly equipped non-linear systems.

ClipLink ClipLink is a comprehensive data man-

agement system of the shooting infor-mation which is necessary for the totaldigital production process, ranging fromacquisition to editing. Incorporated intoSony DVCAM cassettes is an IC mem-ory chip which holds shot list informa-tion, called ClipLink Log Data. During acquisition with a DSR-500WSDVCAM Camcorder, the Time Codedata of the In-point and Out- point ofeach shot is recorded in the cassettememory. A still frame of each In-point,called the ‘Index Picture’, is recorded onthe tape to serve as the visual informa-tion associated with the shot data.When the cassette is loaded into aDSR-60, 80, or 85, the ClipLink LogData is uploaded into the ES-3/ES-7EditStation for immediate viewing ofthe images on the screen before actuallybeing recorded onto the hard drive.Then only the selected clips areuploaded for time and space-saving effi-ciency of the hard drive.

The DSR-80 (only) has a tape dubbingfunction allowing you to make a dub ofthe recorded DVCAM tape information(video/audio/subcode) along with theClipLink log data in the DVCAM cas-settes’ memory chip. Dubbing is accom-plished by operating the menu buttonon the subcontrol panel via the SDTI(QSDI) and RS-422 interfaces.

All offer an RS-422 interface for connec-tion to edit controllers like the PVE-500.In addition to VCR control, the RS-422interface also enables the transfer ofClipLink Log data from the cassette mem-ory to a Sony ES-3/ES-7 EditStation.

When connected to RS-422-equipped edi-tors, the DSR-60 functions as an editingplayer, the DSR-80/85 as editingrecorders. With sophisticated servo con-trol and built-in time code capability,frame accurate assemble or insert editingis assured.

High speed picture search with recogniz-able picture at up to 32x normal speed in forward and reverse. Frame accuratepicture search is also available in the jogmode. Jog/Shuttle is performed with theoptional DSRM-10 Remote Control oredit controller. The DSRM-10 connectsvia the Control S port on their frontpanel, enabling control of jog/shuttle,play, record, pause, FF and rewind func-tions. (Control S is short for SIRCS orSony Integrated Remote Control System).

In Insert mode, video, audio and timecode can be inserted independently or inany combination.

Built-in TBC for highly stable analog out-puts. Sync and sub-carrier phase adjust-ment is made from the front panel, or canbe done remotely with the optional UVR-60 TBC Remote Control.

Taking advantage of digital processing,these VCRs are equipped with a digitalslow function that allows 0 to ±1/5x nor-mal playback speed in forward andreverse. The digital slow function achievesnoiseless slow-motion images with picturequality that is on par with DynamicTracking playback. Either frame or fieldaccurate playback is possible.

In Jog mode, complete reproduction offour or two channels of digital audio isachieved 1/30 to 1x normal playbackspeed in forward or reverse. This is espe-cially useful for quickly and precisely des-ignating edit points while monitoring thedigital audio signals. Audio data is held inmemory and output according to searchspeed, for enhanced recognition.

The DSR-60/80/85 have an attractive andfunctional appearance to complement anyediting environment. They are 4RU highand can be mounted in a 19˝ rack withthe optional RMM-130 Rack Mount Kit.

DVCAM Metal Tape

To gain maximum performance from high density digital recording, DVCAM usesspecially developed Advanced Metal Evaporated cassettes. These tapes deliver superi-or recording quality by increasing the RF video outputby +4.5 dB, compared to that of Hi-8 metal evaporatedtape. Higher durability is also ensured for the rigors ofprofessional editing by utilizing a new dual evaporatedlayer structure with protection by a DLC (DiamondLike Carbon) coating. Each cassette has a built-in 16kBIC memory that can hold index addresses and othershooting data to enhance editing efficiency. Two cassettesizes are available: DVCAM Standard-size DVCAM cas-settes, which provide a maximum of 184minutes (PDV-184ME), and the Mini-sizecassettes, which record up to 40 minutes(PDVM-40ME).

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Power Source:120v AC 50/60Hz

Power Consumption:DSR-60: 85wDSR-80: 145wDSR-85: 185w

Dimensions:DSR-60/80: 167⁄8 x 67⁄8 x 191⁄2˝ (WxHxD)DSR-85: 167⁄8 x 67⁄8 x 193⁄4˝ (WxHxD)

Weight:DSR-60: 39 lbs 10 oz (18kg)DSR-80: 41 lbs 14 oz (19kg)DSR-85: 46 lbs 4 oz (21kg)

Connections:RS-422: 9-pin Female x1TBC: 15-pin connector Control S: Stereo Mini Jack

S/N Ratio: Over 55 dB

TRANSPORTRecord/Playback Time:

Up to 3 hrs w/PDV-184ME

FF/REW Time:3 min. with PDV-184ME1 min with PDVM-40ME

Search Speed:Via RS-422:

32x (Forward/Reverse)

Via DSRM-10: Jog Mode: Frame by Frame to x 2Shuttle Mode: Still to 16x (8-steps)Digital Slow: still, x 1/5, x 1/10 Jog Audio: 1/30 to 1x

TIME CODETime Code In: BNC x1* Time Code Out: BNC x1* (* optional DSBK-130 TimeCode I/O board required)

VIDEOAnalog Inputs:

Reference: BNC x 2Composite: BNC x 1S-Video: 4-pin x1 Component: BNC x 3

Digital Inputs:QSDI: BNC x1SDI: BNC x 2 (RequiresDSBK-120 SDI Board)

Analog Outputs:Reference: BNC x 1Composite: BNC x 1S-Video: 4-pin x 1Component: BNC x 3

Digital Outputs:QSDI: BNC x1 (DSR-60requires DSKB-110 Board)SDI: BNC x 2 (RequiresDSBK-120 for DSR-80/85and DSBK-100 for DSR-60)

AUDIO Analog Inputs:

3-pin XLR male x 4) -9 dB to +28 dB, 600 ohms,Balanced (DSR-80/85)

Digital Inputs:AES/EBU (3-pin XLRfemale x 2) (DSR-80/85)

Analog Outputs:3-pin XLR male x 4) +4 dB 600 ohms, Balanced

Digital Outputs:AES/EBU (3-pin XLR male x 2) (DSR-80/85)

Audio Monitor:Phono Jack x 1

Headphone Jack:JM-60 Headphone Jack x1


RCC-5G (RS-422) Cable

High Reliability A built-in hour meter simplifies maintenance by showing total

operating time, drum rotation time, transport operation time,and the number of thread/unthread operations. Information canbe shown on a monitor or on the VCRs front panel display.

They are designed with a highly responsive mechanism, which isthe essential factor for efficient editing. This includes U-loading,direct reel drive, and an electronic tension servo. FF/REW speedsare an incredible 85x normal speed, while recognizable colorsearch at 32x normal speed is achieved.

In addition to their excellent responsive performance, they offereasy servicing and maintenance by incorporating self-diagnostics,an error log and hours meter. When an error is detected, an errormessage is immediately displayed and the problem area identi-fied. In addition to minimizing down-time, an Error Log func-tion makes it easier to detect the error by retaining the past sta-tus data of the VCRs in memory.

User Friendly Operation Each can playback consumer DV cassettes without any adapters.

This enables a wider range of program material to be used forediting. Jog audio and digital slow functions can also be used.

They are supplied with an initial Setup menu system that is pro-grammed in the form of a layer structure. By simply goingthrough the menu using the subcontrol panel, you easily initializethe VCRs. The menu allows many detailed operational parametersto be preset. Once set, the VCRs will memorize the options andretain them in memory, even after the power is turned off.

Built-in character generator can superimpose time code, VCR oper-ation status, menu items and all alarm, warning, and error messageson the video signal output and display them on a monitor.

A large, highly visible display is featured on their front panels. Itshows audio and video input mode, normal/high-speed modes.ClipLink data and Cassette Memory Status can also be displayed.

Rearview DSR-60 Rearview DSR-80 Rearview DSR-85

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When integrated with the ES-3 or ES-7 EditStation, the DSR-85 executes high-speed trans-mission (via SDTI) of the selected ClipLink Data at 4x normal speed, at which time theactual editing work can be started immediately. The 4x download capability of the DSR-85brings unprecedented productivity into the editing process.

In order to accomplish this, the DSR-85 has a very small head drum that results in a com-pact transport mechanism only 21.7mm in diameter, while incorporating 14-head and 14-channel rotary transformers. This is combined with a laminated head structure with magne-to-static coupling film and metallic bonding. The high-quality amorphous twin-heads ensurereliable, efficient recording and playback with low noise. To permit data to be transferred at4x normal speed, the head drum rotates at up to 18,000 RPM (revolutions per minute).

Superb record/playback quality and professional reliability ofthe DVCAM format. It offers excellent audio quality and canrecord signals in both 48 kHz/16-bit and 32 kHz/12-bitmodes. Can play back consumer DV format tapes, as well.

The DRV-1000 is equipped with i.LINK (DV IEEE1394)input and output. With a single cable connection to this 4-pinconnector, digital audio and video can be transferred withoutsignal degradation between the DRV-1000 and your harddrive, or between the DRV-1000 and other i.LINK-equippedmachines such as the Sony DSR-30 VCR, DSR-PD100A andDSR-200A camcorders.

Easily fits into a standard 5.25˝ drive bay (PC or Mac) and usesthe computer’s DC power (thus lowering its cost). The cassettecompartment slides in and out of the outer chassis to makeinsertion and ejection of the cassette easy. Off-white color anddesign make it easy to blend into PC operating environments.

Features composite, S-Video and analog audio outputs. Inaddition to DV capture boards, the DRV-1000 can be usedwith widely available analog video capture boards. Also enablesvideo playback directly to an NTSC video monitor.

Flexible control options via the i.LINK or Control L interface.

DRV-1000 DVCAM Computer DriveWith the increase of digital video acquisition in both consumer and profession-al markets, the demand for PC-based editing is growing rapidly. The DRV-1000 addresses this need by allowing material shot on DV and DVCAMsources to be edited in a low cost PC editing system. Specifically designed tofit directly into a standard 5.25˝ disk drive bay, the compact DRV-1000,with a third party DV capture board and software, forms a complete, low-cost editing system.

Convenient PlaybackFunctions (DSR-60/80)

4x High-Speed Playback/Record (DSR-85 Only)

They have a Closed Caption functionwhich reproduces the program with therecorded signal on the video area as videoauxiliary data. Furthermore, the DSR-80can insert captions into prerecorded pro-grams.

Switchable RGB/Component outputrenders them ideally suitable for RGBapplications, such as large screen presen-tations and computer environments. Thisis because RGB signals can be convertedinto Y/R-Y/B-Y Component signals withminimum picture degradation. Theyboth output high quality RGB, while theDSR-80 can also input signals.

The DSR-60 (only) has an Auto Repeatfunction that enables either the entiretape or a specific portion to be replayedcontinuously. By simply selecting A andB points, or presetting the time codes onthe Setup menu, the DSR-60 plays backthe selected segment repeatedly. Also hasa power-on function for immediate play-back upon powering up.

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DVCAM Format A professional extension of the worldwide-

standard DV format, DVCAM uses thesame 8-bit digital component recordingwith a 5:1 compression ratio and 4:1:1sampling ratio for excellent picture qualityand superb multi- generation performance.

DVCAM cassette are available in two sizes:standard and mini. The standard size cas-sette provides recording time of up to 180minutes while the mini-size cassette pro-vides up to 40 minutes. Long recordingtimes are made possible by Sony’s advancedmetal evaporated tape technology.

DV/DVCPRO Compatible The DSR-2000 offers playback compatibil-

ity with all DV (25 Mbps) format tapes.This is very important because DV prod-ucts are used more than ever in profession-al video applications due to their compactsize and superior picture quality. For maxi-mum versatility, the DSR-2000 can playback DVCAM tapes; DV tapes recorded inboth SP/LP modes; and even DVCPROtapes without any adaptors. Moreover, it ispossible to use these tapes directly as edit-ing source material. Now you can save timeand money as there is no need to use dif-ferent VCRs for each format.

Pre-Read Editing Thanks to newly developed digital process-

ing, the DSR-2000 is equipped with pre-read editing – a feature never beforeoffered on a 1/4 inch VCR. Since prereadheads are positioned ahead of record headson the drum, these heads scan previouslyrecorded video and audio signals that arethen recorded back onto the same track.

Preread provides many advantages such asA/B roll editing with only two VCRs,sound-on-sound capability as well as audiocross fade function for a clean transition ofaudio at an editing point. Besides, theusual delay between video and audio expe-rienced at an editing point is eliminated.The frame delay between audio channelsalso never appear during audio mix/swapand over dubbing of audio.

VCR-to-VCR Editing Jog/Shuttle dial provides convenient

two~machine editing without any externalcontrollers. By connecting the DSR-2000to any VCR with an RS-422 or i.LINK(DV In/Out) interface, an editing systemwith ±0 frame editing precision can be cre-ated. Additionally, the optional DSBK-200Control Panel enables remote operationfrom a distance of up to 10 meters.

Digital Audio Offers superior digital audio with perfor-

mance comparable to CD quality, thanksto a wide dynamic range and excellent S/Nratio. There are two selectable audio chan-nel modes: a two-channel mode with 48kHz/16-bit recording or a four-channelmode with 32 kHz/l2-bit recording.

Wide Range of Digital Slow Speeds

The DSR-2000 offers a variable speedplayback function with a range of -1 to + 1 times. Within this wide range, theDSR-2000 plays back digital noiseless slowimages and smooth jog sound, making iteasy to designate editing points. Digitalslow speeds can be applied when using anyDV (25 Mbps) format recorded tapes.

Dynamic Motion Control Equipped with Sony's innovative DMC

(Dynamic Motion Control), the DSR-2000 can memorize the variable speedrange of a designated portion on the playerside and execute editing with slow-motionimages. Additionally, DMC allows theDSR-2000 to control Dynamic Tracking(DT) equipped VCRs like the PVW-2650

DVCAM Editing Recorder w/Pre-ReadThe DSR-2000 is a highly flexible DVCAM studio deckspecifically designed for demanding ENG editing. It can alsoplay back all DV-25 Mbps-based formats—including DV(Standard and Long Play modes), as well as all types ofDVCPRO tape as an editing source—all without anymechanical tape adapters. The DSR-2000 is equipped withaudio/video Pre-Read Editing and includes a Jog/Shuttledial that allows two-machine editing. It also providessmooth audio during jog, a wide range of slow motion playback options and fast machine response—core operationalfeatures required for professional news editing.A SMPTE standard MPEG SDTI-CP interface option is available for the DSR-2000 to output an MPEG stream inaddition to the optional i.LINK interface. This allows the DSR-2000 to seamlessly link to Betacam SX and otherMPEG-based video equipment by means of SDI, i.LINK and MPEG SDTI-CP.

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Professional Functions To provide highly stable video signals,

the DSR-2000 is equipped with process-ing control for both analog and digitaloutputs. This allows accurate control ofvideo level, chroma level, chroma phase(hue), set up, Y/C delay, Sync phase andSC (Sub Carrier) phase for composite,component, S-Video and SDI outputs.Adjustments can also be done remotelyusing the optional UVR-60 TBCRemote via the rear 15-pin control port.

The DSR-2000 handles two kinds oftime code data. Like all DVCAM VCRs,it has a built-in SMPTE Time Codegenerator/reader for frame accurate edit-ing. Time Code is written in the subcodeand is transmitted via RS-422. But it isthe only DVCAM VCR to also supportVITC (Vertical Interval Time Code).

Three-color channel condition indicator,(with each color representing a particularerror rate threshold level) enables you toquickly recognize the condition of aVCR or tape for more reliable editingoperation.

Equipped with a built-in signal genera-tor, the DSR-2000 can generate colorbar or black burst for video, and 1 kHztone or mute for audio. Convenient forcreating pre-striped tapes before editing.

During recording and playback, audiolevels can be adjusted by using the con-trol knobs on the front panel.

By receiving a wide aspect ID signal, theDSR-2000 can record and play back16:9 aspect ratio pictures shot with theDSR-500WS or DSR-200A DVCAMCamcorder.

An initial setup menu that provides easyaccessibility and simplified operation.The setup menu can be scrolled andmodified by the search dial while moni-toring composite video out, SDI videoout or the time counter display.

With a built-in closed caption function,the DSR-2000 can record character dataon the video area as video auxiliary dataand add it into the vertical blanking areain playback mode. The closed captiondata is input and output through thecomposite and SDI interfaces.

Analog Interfaces With analog interfaces for

both video and audio, theDSR-2000 is compatible withconventional analog equip-ment and ensures a smoothupgrade path to an all digitalsystem. Equipped with com-posite, component, S-Videoand XLR connectors.

Equipped with RS-422 control protocol for interfacing to other professional VCRs, edit controllers and Sony’s ES-3/ES-7 EditStations.

Digital Interfaces The DSR-2000 has a full range of standard digital interfaces such as SDI, SDTl(QSDI)

and AES/EBU as well as optional i.LINK (DV In/Out) and SDTI-CP (MPEG Out).This allows full integration into a wide variety of digital systems like an SDI-based edit-ing system (Betacam SX or Digital Betacam) or a cuts-only editing system (DSR-500WSor consumer DV camcorder) via the i.LINK, and much more.

ClipLink OperationThe DSR-2000 supports the ClipLink system that conveys shooting data into the digital pro-duction process. During acquisition with the DSR-130, DSR-300 or DSR-500WS DVCAMcamcorders, the in-point out-point time code data of each shot and OK/NG status arerecorded in the cassette memory of the DVCAM tape. These can be changed later on theDSR-2000 while viewing the character display of ClipLink Log Data on the monitor.

Also, by adding in/out-points from the font panel, the DSR-2000 will automatically recog-nize these as newly created Mark In/Out points. What's more you can easily cue up to thedesignated points (Mark In points/Cue address) while viewing the ClipLink Log Data toperform a quick picture search. The ClipLink Log Data can then be used to create an idealnon-linear editing suite by integrating the DSR-2000 with an ES-3/ES-7 EditStation.

Tape dubbing function allows you to makea dub of the recorded DVCAM tape infor-mation (video/audio/subcode) along withClipLink log data. Dubbing is done byoperating the menu button on the subcon-trol panel via the SDTI (QSDI) and RS-422 interfaces or through i.LINK.

For more flexibility the DSR-2000 allowscombinations of video and audio inputs. Itis possible to select a digital interface forvideo and an analog interface for audio.

1) i.LINK can’t be combined with other interfaces. 2) If you select SDTI(QSDI) for audio, it automati-cally defaults to SDTI(QSDI) for the video inputalso. However, if you select SDTI(QSDI) for video,any signal interface can be selected for audio.

Universal power system (100 to 240v AC)means you can use the DSR-2000 any-where around the world without the needfor a transformer.

Built-in character generator can superim-pose time code, VCR operation status,menu items and all alarm, warning, anderror messages on the video signal outputand display them on a monitor.

The DSR-2000 provides easy servicingand maintenance by incorporating a self-diagnostics function, error log and hoursmeter. Also, thanks to its highly durabledrum, the DSR-2000 realizes an extendeddrum replacement interval (2,000 hours).


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Sophisticated Transport Mechanism

The DSR-2000 incorporates a newlydesigned triple~size cassette compartmentto ensure compatibility with DV (25Mbps) format recorded tapes of all sizesand types. With the new compartment, itis possible to uso standard and mini sizeconsumer DV and DVCAM cassettes aswell as medium DVCPRO cassettes with-out any mechanical adaptor. The cassettecompartment is also durably designed toprovide optimum performance indemanding editing environments.

A quick response is an essential require-ment for professional editing and theDSR-2000 answers reliably through theuse of a direct reel and drum motormechanism. In switching operationmodes - from STILL tn PLAY, for exam-ple - response is exceptionally quick,especially during audio playback. Fast for-ward and rewind speeds are an incredible85X normal with a maximum searchspeed of 60X during color playback.

Incorporating a handsomely designedfront panel with a Jog/Shuttle dial and fullediting keys, the DSR-2000 provides avariety of professional features that make ithe leading edge product in the DSR series.

Equipped with key and record inhibitfunctions to prevent accidental operation.The key inhibit function disables all keyswhile the rec inhibit function makes itimpossible to record onto a tape.

GENERALPower Requirements:

100 to 240v AC 50/60Hz

Power Consumption:110W

Playback/Record Time:184 min. with PDV-18440 min. with PDVM-40

Tape Speed:28.193mm/s

FF/REW Time:Under 3 min. with PDV-184Under 1 min. with PDVM-40

Search Speed:Shuttle : Still to ±60x normalDigital Slow: ±1x normal

Weight:39 lbs. 1 oz. (18 kg)

Dimensions: 167⁄8 x 7 x 193⁄8˝ (WxHxD)(427 x 175 x 496.5mm)


Reference: BNC (x 2), loop-through connectionComposite: BNC (x 2 ),loop-through connection

S-Video: 4-pin (x 1)

Component: BNC x3 (x1)

Digital Video: SDI: BNC (x 2), active-through connection

SDTI(QSDI): BNC (x 1) i.LINK: 6-pin x 1(requiresoptional DSKB-190 board)

AUDIO INPUTS:Analog Audio:

XLR female (x4) -60/0/+4dBu, 600-ohm on/off-60dBu, high impedance

Digital Audio:AES/EBU (BNC x2)


Reference: BNC (x 1) Composite: BNC (x 3 )

S-Video: 4-pin (x 1)

Component: BNC x3 (x1)

Digital Video: SDI: BNC (x 3),

SDTI(QSDI): BNC (x 1) i.LINK: 6-pin x 1(requiresoptional DSKB-190 board)


Audio: 3-pin XLR male (x4)-60/0/+4 dBu selectable

Monitor: RCA (x1)

Headphone: JM-60 jack x1

Digital Audio:AES/EBU (BNC x2)

AUDIO Frequency Response:

2 Channel Mode (16-bit):20 Hz to 20 kHz

4 Channel Mode (12-bit):20 Hz to 14.5kHz

Dynamic RangeOver 90 dB

TIME CODETime Code In: BNC (x 1),Time Code Out: BNC (x 1),

REMOTERS-422: 9-pin female (x2)Video Control: 15-pin (x1) Control Panel: 15-pin (x1)


RCC-5G (RS-422) Cable

Functional Front Panel

Optional Accessories

DSKB-190 i.LINK (DV In/Out) Board

DSKB- SDTI-CP (MPEG) Output Board

UVR-60 TBC Remote Control Unit

DSKB-2000 Control Panel

BKNW-121 Control Panel Case

RMM-130 Rackmount Kit

i.LINK-based Cut Editing System

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S O N YFeature Comparison for DVCAM VCRs

DSBK-100 SDI Output Board for the DSR-60 ................784.95

DSBK-110 SDTI(QSDI) Output Board for the DSR-60 ..784.95

DSBK-120 - SDI I/O Board for the DSR-80/85 ............1299.95

DSRM-10 Wired Remote Control for DSR-60/80/85 ......199.95

DSRM-20 Wired Remote Control for DSR-20/40 ..........249.95

RMM-130/US Rack Mount Kit (4RU High) ..................199.95

Optional Accessories for DVCAM VCRs

DSR-2000 DSR-85 DSR-80 DSR-60 DSR-40 DSR-20 DSR-30

Standard/Mini-size Tape Yes Yes Yes Yes Yes Yes Yes

Clip Link Yes Yes Yes Yes — — —

4X Transfer — Yes — — — — —

TC Reader/Generator Yes Yes Yes Reader Only Yes Yes Yes

Assemble Editing Yes Yes Yes — Yes Yes Yes

Insert Editing Yes Yes Yes — — — Yes

Auto Repeat — — — Yes Yes Yes Yes

Power-on Playback — — — Yes Yes Yes Yes

Closed Caption Yes — Yes Yes — — Yes

Search Speed Up to ±60x Up to ±32x Up to ±32x Up to ±32x Up to ±15x Up to ±15x Up to ±15x

Jog Audio ±1/30 to 1x ±1/30 to 1x ±1/30 to 1x ±1/30 to 1x — — —

Digital Slow 0 to ±1x 0 to ±1/4x 0 to ±1/5x 0 to ±1/5x ±1/10, 1/5, 1x ±1/10, 1/5, 1x ±1/10, 1/5, 1x

DV Playback Yes Yes Yes Yes Yes Yes Yes

Digital Interface

SDTI (QSDI) In/Out Yes Yes Yes Optional — — —

SDI In/Out Yes Optional Optional Optional — — —

AES/EBU I/O BNC (x2) XLR (x2) XLR (x2) — — — —

i.LINK Optional — — — Yes Yes Yes

MPEG Out Optional — — — — — —

Analog Interface

Component In/Out Yes (BNC x 3) Yes (BNC x 3) Yes (BNC x 3) Yes (BNC x 3)* Yes (BNC x 3)* — —

RGB In/Out — — Yes (BNC x 3) Yes (BNC x 3)* — — —

Composite In (BNC) x 2 x 2 x 2 — x 1 x 1 x 1

Composite Out (BNC) x 3 x 2 x 2 x 2 x 2 x 1 x 2

S-Video In/Out x 1 x 1 x 1 x 1* x 1 x 1 In x1 - Out x2

Audio In XLR (x4) XLR (x4) XLR (x4) — RCA (x2) RCA (x2) RCA (x2)

Audio Out XLR (x4) XLR (x4) XLR (x4) XLR (x4) XLR (x2) RCA (x2) RCA (x2)

Remote Control Interface

RS-422A Yes Yes Yes Yes Yes — —

RS-232C — — — — — Yes —

LANC — — — — — Yes Yes

Control-S — Input Input Input Input Input/Output Input/Output

Time Code I/O (BNC) Yes Yes Yes Yes — — —

Reference I/O (BNC) Yes Yes Yes Yes Input Only — —

* Output Only

To be used as a source feeder only

DSBK-130 - Timecode I/O Board for the DSR-60/80/85 ..367.95

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DVCAM Video Walkman Designed for professional video applications, the DSR-V10 is a combina-tion field editing system, back-up VCR and handy desktop viewer. It alsooffers convenient hands-free shooting with mini cameras.Compact and lightweight, the DSR-V10 fits in a pocket, yet deliversexcellent picture quality, offering great operational performance. With afull range of accessories, it enables you to create professionally producedvideo — anytime and anywhere. The DSR-V10 can also be configured as a simple field editing systemwith the optional Sony DSRM-E1 Edit Adapter and DVCAM cam-corders, such as Sony DSR-PD100A. It is ideal for simple rough editingwhile in the field, or while traveling to another location.

Simple Field Editing with the Optional DSRM-E1 Edit Adapter

Using the DSR-V10 with the optional DSRM-E1 Edit Adapter and a DVCAMcamcorder like the PD-100A, you can configure an editing system that allows you toperform simple edits in the field, or while in transit between locations.

Built-InJog/Shuttle Dial

Controls VCRsequipped withControl L (likethe DSR-20/30 orthe DSR-PD100Camcorder) asPlayers

Assemble Editingwith up to 99Events x 4Programs

Connects directlyto the DSR-V10via a 20-pin con-nector

Utilizing the DVCAM format, the DSR-V10 provides the recording/playbackquality and reliability required for profes-sional use. It can also play back consumerDV format tapes.

Incorporating a 5.5˝ LCD monitor, theDSR-V10 provides easy field monitoringof your video and serves as a handy desk-top viewer.

Incredibly small and lightweight, weighsonly 2.2 lbs., excluding the tape.

Infolithium Battery System for extendedoperating time. The combination of thesebatteries and low power consumptionallows 100 minutes continuous recordingtime (with LCD on) using the NP-F750Battery, and 155 minutes with the NP-F950/B. The system also displays the pre-cise amount of battery life remaining,with up-to-the minute accuracy.

Equipped with i.LINK (DV In/Out)interface. Based on the IEEE1394 stan-dard, it allows digital video and audio sig-nal transfer with other similarly equippedVCRs and computers, using a single wireconnection. Allows source material to bedubbed and edited without any genera-tion lost.

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Color Mini-Cameras for the DSR-V10 When used in conjunction with the DSR-V10, the CVX-V1 Mini-Cam and CVX-V3 Mini-Camwith 3x zoom provide a portable, economical solution for field acquisition. Despite theirremarkably small size, they deliver excellent picture quality. Idealfor use in mobile/portable acquisition applications, like eventvideography and police work. They can be helmet-mounted whentotal hands-free shooting is required (like skydiving).

CVX-V1: 3.9mm f1.8 Lens (Manual Focus/Iris control)

CVX-V3: 3X (3.4-10.2mm f/2.8-3.9) Optical Zoom Lens

CVX-V1: Camera Head: .85 oz. CCU: 4.8 oz.

CVX-V3: Camera Head (Splash Proof ): 2.6 oz. CCU: 4.8 oz.

1/4-inch CCD with 470,000 pixels for asharp, clear picture. Also incorporates aSteadyShot function to reduce hand-heldor other motion shaking.

Equipped with a built-in 18x zoom lens(72x in digital zoom mode).

The CVX-V18NS camera head is com-pact and lightweight, and is connected tothe CCU via a camera cable. Since thetripod shoe is located on the camerahead, you can conveniently install thecamera at a distant location, whileremotely controlling focus, shutter speedand exposure.

The CCU has an external microphoneinput, and audio/video output.

Compact CCU is easy to carry and canbe held in your hand. When the cable isdetached on the CCU side, the optionalCCN-10 camera cable can be connected,thus extending the distance between thecamera and CCU up to 108 feet.

Advanced NightShot function enablesvideo recording at 0 lux . The IR filter isdisabled and additional IR rays can be litso objects can be recognized by the CCD.Without NightShot, low light recordingcapability is 0.7 Lux.

The CVX-V18NS can be powered vialithium-ion batteries which attach direct-ly to the CCU. With low power con-sumption, the camera can run for up to

15 hours using the optional NP-F950/Bbattery (10 hours with the IR light On)

Configure a compact field recording sys-tem with the DSR-V10. Utilizing thehigh quality DVCAM format and theDSR-V10’s built-in LCD monitor youcan perform monitoring and evidencerecording in the field. The CVX-V18NSattaches directly via the supplied cableand uses power from the DSR-V10.

A 20 letter maximum title can be created,which can be superimposed onto theimage. The color, vertical position andhorizontal position can be selected. Dateor time or both can also be superimposedonto the image.

CVX-V18NSNightShot Camera with 0 lux Image Capture CapabilityThe CVX-V18NS is a new type of color video camera that is sure to expandyour range of video applications. It features a unique NightShot function,a built-in 18x zoom lens, and a compact camera control unit. The innov-ative NightShot function allows the capture of objects in extremely poorlighting, even in 0 lux. The compact CCU can control all the camerafunctions via an attached cable, and connects directly with the DSR-V10.


1/4˝ precision CCD with 410,000 pixels

Portable and unobtrusive for convenientfield acquisition, they let you shoot inlimited space or camera-shy subjects.

They utilize lithium batteries, allowinguse as stand-alone devices directly con-nected to a monitor

VW (Video Walkman) 20-pin connectorpasses video-in, as well as power for adirect connection to the DSR-V10.

They include 2 meter camera cable

The CVX-V3 (only) has a built-in stereomicrophone and audio output for record-ing and playback of audio.


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DVCAM Portable Editing RecorderA portable editing recorder package, the all-in-one DSR-70 incorporates a 6.4˝ LCD mon-itor, frame accurate editing, Jog/Shuttle dial, audio speaker, Time Code input/output, RS-422 Interface, ClipLink operation and Edit function keys. Small, lightweight and batteryoperated, the DSR-70 is ideal for various types of field editing and playback, as well asstudio editing. It also offers three optional digital interfaces: i.LINK (IEEE1394), SDIand SDTI(QSDI). Dock two DSR-70s together and form a complete and ergonom-ic, full featured cuts-only editing system for field and mobile applications.Additional features, such as Two-Camera Switching Recording, make the DSR-70 ideal for video journalism and event videography. The DSR-70 takes up very little space, and its lightweight body is easy to carryUse for both shooting and editing, it offers an excellent price/performance ratio.

DVCAM Format The DSR-70 employs the DVCAM format, (8-bit digital compo-

nent recording with a 5:1 compression ratio and 4:1:1 samplingrate) to provide high picture quality and superb multi-generationperformance. In addition, PCM (Pulse Code Modulation) digitalstereo recording system offers superior audio performance with awide dynamic range and an excellent signal-to-noise ratio, compa-rable to CD quality audio. There are two selectable audio modes:2-channel mode with 48 kHz/16-bit recording and a 4-channelmode with 32 kHz/12-bit recording.

Like all DVCAM VCRs, the DSR-70 maintains a dual cassette sys-tem that accommodates both standard and mini size cassetteswithout an adapter. Record up to 40 minutes with the SonyPDVM-40ME Mini-size cassette, and up to 184 minutes with thePDV-184ME standard-size cassette. The DSR-70 can also playback consumer DV tapes without any special adapter — an advan-tage for those who want to use DV recorded tapes as a source.

Versatile Analog Capability Has a full complement of analog interfaces for video and audio,

providing a migration path for hybrid analog system configura-tions. Offers two composite (BNC) and an S-Video input/output,as well as component video with the optional DSKB-170 AnalogComponent I/O board. In addition, 2-channel balanced XLRinputs (-10/0+4dB) and 4-channel selectable outputs are provided.

AC/DC Power Operation The DSR-70 can operate in the field, running on 12v battery

power, using compact Sony BP-L60A or BP-L90A lithium-ionbatteries. Record for almost two hours with a BP-L90A even withthe LCD monitor on. AC operation is also available with a choiceof three adapters. The AC-DN2A connects via the V-shoe attach-ment and can supply power for two DSR-70s docked together.Alternatively, an AC-550 or CMA-8A AC adapter can be used.They connect via a 4-pin XLR connector.

Digital InterfacesFor digital input and output, optional i.LINK (DV), SDI and SDTI(QSDI) interfaces make the DSR-70 a total digital solution. Source materi-al can be dubbed and edited with virtually no loss of video and audio quality.

DSKB-140 i.LINK DV I/O Board:

For use with the DCR-VX1000, DSR-PD100A; DSR-200A; DSR-V10; DSR-20 and DSR-30. Through the i.LINKinterface, frame accurate cut editing ispossible between a camcorder (as a play-er) and the DSR-70 (as a recorder), withjust a single cable connection.

DSKB-150 SDTI (QSDI) I/O Board:For working with DVCAM VCRs like the DSR-60/80/85. The interface provides degrada-tion-free transfer of video and audio.

DSKB-160 SDI Input/Output Board: Enables editing between broadcast VCRs, suchas Digital Betacam and Betacam SX as well asDVCAM VCRs equipped with SDI interface.

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Editing Functions By docking two DSR-70s together, a full

featured cuts-only editing system formobile applications is created. This con-figuration allows VCR-to-VCR editingwith jog/shuttle dial operation. In addi-tion, frame accurate editing for bothassemble and insert modes is provided bythe sophisticated servo control and built-in time code generator/reader.

Utilizing digital processing, the DSR-70offers a Digital Slow function. Playbackvideo over the range of 0 to 0.5 timesnormal speed in forward and reverse.

In Jog mode, digital audio can be repro-duced over the range of 1/30 to 1x nor-mal speed in both forward and reverse.Monitoring digital audio signals is espe-cially useful for making quick and pre-cise decisions on editing points.

Combines quick response with high reli-ability through the use of direct reeldrive and electronic tension servo.FF/REW speeds are 85x normal, whilemaximum search speed is 32x with colorplayback.

The DSR-70 can mix (maximum twochannels) or swap input signals from theSDTI(QSDI), SDI, i.LINK or analogaudio interfaces.

Conveniences Full Tape Dubbing function allows you

to dub recorded DVCAM information(Video/Audio/Subcode) along withClipLink Log Data held in the cassettememory. This is achieved via the i.LINKinterface, or by a combination of SDTI(QSDI) and RS-422 interfaces.

Record and play back 16:9 aspect ratiopictures shot with the DXC-D30WS orDSR-500WS Camcorder. This capabilityis available both through analog and dig-ital Interfaces. 4:3 or 16:9 wide screenmode is selected using the menu.

Built-in processor for analog and digitaloutputs. By providing control of videolevel, chroma level and setup for thecomposite, component, S-Video andSDI outputs, the DSR-70 achieves high-ly stable video signals.

Sequential RecordingWith two DSR-70s (using each deck alter-nately) sequential recording of up to sixhours without a break is possible. When thetape remaining time of the recorder deckreaches two minutes, the player deck auto-matically starts recording. Ideal for for eventswith long run times like concerts and sports.

Parallel-Run RecordingIn double deck configuration, two DSR-70scan record simultaneously (parallel-runrecording). Ideal for multi-camera recordingand sync roll editing, their time codeinput/output connection ensures synchro-nized recording with the same time code.

ClipLink OperationUsing footage shot on a DVCAM camcorder, material can be reviewed and prepared for finalediting while on location. During acquisition with the DSR-130/300/500WS, time code dataof the in-point/out-point of each shot and OK/NG status are recorded in the cassette memoryof the DVCAM tape. Afterwards, these can be changed using the DSR-70, while viewing thecharacter display of the ClipLink Log Data on the LCD screen. By adding in- and out-pointsfrom the key panel, the DSR-70 automatically recognizes these as newly created Mark-In/Outpoints. Moreover you can easily cue up to the designated points (Mark-In points/Cue address)while viewing the ClipLink Data. This makes it possible to perform quick picture search.

Optional Accessories

Acquisition Functions

DSKB-140 i.LINK (DV) I/O BoardDSKB-150 SDTI (QSDI) I /O BoardDSKB-160 SDI Input/Output BoardDSKB-170 Analog Component I/O BoardDSKB-180 Dual Video Input BoardBKNW-225 Docking Kit

AC-DN2A AC Adapter AC-500 AC AdapterBP-L60A Lithium-ion Battery BP-L90A Lithium-ion BatteryBC-L100 4-Position Lithium-ion ChargerLC-DN220 Hard Carrying Case

Two-Camera Switching RecordingThis unique feature enables the DSR-70 to switch between two camera sources. With theoptional DSBK-180 Dual Video Input Board installed, two cameras can be connected andthe output of either one recorded. While recording a shot from two cameras (for example,shooting an orchestra from two different sides of the stage), the DSR-70 displays bothimages on the LCD screen as Picture in Picture.

Select either the A or B source for recording via the DSR-70 control panel. The DSR-70can also display the chroma phase and zebra level pattern of the two cameras on screen.With a communication headset, the DSR-70 operator can direct camera operators to makecamera level adjustments.

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Dockable DVCAM RecorderThe DSR-1 brings exciting new capabilities to existing dockable cameras, as well as tothe DXC-D30. Although some of its features work only with the DXC-D30/D-30WScamera heads, (page 74) many features will work with almost any other analog dock-able camera. Thanks to innovative advances in both electronics and mechanics, theDSR-1 is remarkably small and lightweight, yet very durable. When docked to aDXC-D30, the total package, including an NP-1B battery, weighs only 16 lbs., mak-ing it one of the most lightweight professional camcorders available.

Unique Design Equipped with both a Pro 76-pin digital

and a Pro 50-pin analog connector, theDSR-1 can be connected directly to Sonydigital cameras (DXC-D30) or analogcameras (DXC-327/537/637) to formsuperb digital recording camcorders.

The 76-pin connector, in particular, allowscloser communication between the DXC-D30 and the DSR-1 in operations such asClipLink, Camera Setup, Data Recordingon tapes, and Time Code display on theviewfinder in playback mode.

The DSR-1 has a dual cassette mechanismthat allows it to accept two cassette size-full size DVCAM tape (up to 184 minutes)or mini-DVCAM tape (up to 40 minutes)- without an adapter.

Conveniences Lightweight magnesium die-cast body and

small head drum mechanism make theDSR-1 remarkably small and lightweight,yet very durable. Including an NP-1BBattery, it weighs only 6.4 lbs.

Low power consumption of only 26Wwhen docked to the DXC-D30, allowscontinuous operation for an hour from oneNP-1B battery.

In addition to the supplied battery casefor one NP-1B battery, an optional case(DC-520) can house two NP-1B batter-ies. A BP-L60 Lithium Battery can alsobe attached to the back of the DSR-

Field Operation Inputs include genlock and time code, out-

puts include composite and S-Video.

Provides full color picture playback with-out any adapter. This allows field verifica-tion of the recording, as well as directmicrowave transmission. A Time BaseStabilizer provides stable pictures withoutthe need for additional equipment.

Record Review function lets you play backthe last scene and automatically stop at theend of the previous recording. Playbackcan be extended for up to 10 seconds.

Viewfinder playback for field verification.In playback or Rec Review mode, therecorded luminance signal can be moni-tored on the viewfinder, while audio play-back is available via an earphone or thebuilt-in speaker.

Automatic frame accurate back-space edit-ing with instant start provides sequentialrecording with a smooth transitionbetween segments. When activating theREC Review function, the DSR-1 canregenerate the time code to be recordedcontinuously at any edit point. This sim-plifies the editing process and allows forseamless cuts and transitions.

Built-in SMPTE Time Code generatorrecords time code and user bits in the sub-code area. Time code can be read at anyspeed. For multi-camera setups, time codecan be locked to another DSR-1 or toexternal time code. In addition, the DSR-1has time code preset and regen capabilities.

Digital Audio Two selectable audio modes utilizing PCM

digital stereo recording for the highestquality .Offers 2-channel 16-bit, 48 kHzor 4-channel 12-bit, 32 kHz recording.

Balanced XLR audio inputs (line/micswitchable) can also supply 48v phantompower to external mics. In addition, a 12vDC output provides power for wirelessmicrophone receivers. Also offers earphoneand unbalanced phono output.

User Friendly Operation Backlit 8-digit LCD display provides an

extensive range of information about VCRoperation, including time data (time code,counter and user bits) and remaining tapeand battery capacity. ClipLink operationstatus is also displayed via bargraph meter,and a digital audio meter allows for preciseaudio level adjustment.

Various menus can also be displayed on theLCD for easy access. These include cumu-lative hours (head drum, transport, totaloperating hours), ClipLink on/off, audiomode selections and DF/NDF time code.

Built-in self-diagnostic system displays anerror message on the LCD - should anerror be detected - immediately identifyingthe problem area.

VCR function buttons are covered with alid and inhibited during record mode.Record mode can also be activated via trig-ger buttons on the front of the camera oron the zoom lens grip.

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DVCAM Non-Linear Editing SystemThe ES-7 provides the flexibility and functionality you needto move smoothly from conventional linear and analog edit-ing to all-digital editing. Multiple video interfaces allow youto connect a variety of digital and analog VCRs, and aunique Disk B-roll feature and support for hybrid operationmeans you can perform both linear and non-linear editing. Designed to work with the DSR-85, the ES-7 offers 4xspeed transfer via SDTI(QSDI), and over 450 realtime 2Dand 3D effects and transitions for turbo-charged productivi-ty. A truly user-friendly, and complete non-linear system, theES-7 includes Pentium CPU with Windows NT 4.0 and36GB of storage, powerful editing software, real-time DME switcher, digital audio mixer, character generator and com-positing software. A control panel is also provided for conventional-style operation.

Direct Digital Link Picture quality is never compromised

because of repeated recompression whenuploading and downloading. Because theES-7 uses the same compression scheme asDVCAM VCRs, uniformly compresseddata can be directly transferred via the*SDTI(QSDI) interface.

Video and audio data transfer can be verytime-consuming operation in non-linearediting. However using the SDTI(QSDI)interface, the ES-7 realizes 4x speed uploadand download —with no loss of picturequality —when connected to the DSR-85DVCAM VCR.

You can also digitally 4x speed backup andrestore video and audio data between theexternal ESBK-7046 Disk Drive and theDSR-85 via the SDTI (QSDI) interface.

Operation via SDI allows the ES-7 to beconnected with other equipment such asBetacam SX and Digital Betacam VCRs.Four channels of audio are embedded ineach video signal. The ES-7 also supportsAES/EBU and IEC958 audio inputs.

To save you a vast amount of time you cansimultaneously create titles using theESDraw, while video/audio data isuploaded to disk using (including 4xupload mode).

Hybrid Operation The ES-7 offers hybrid operation support-

ing non-linear and linear editing or a com-bination of both. This allows the use of themost appropriate method for the task —for example, linear operation perform sim-ple tasks more efficiently than non-linear.

Another major aspect of the ES-7 is DiskB-roll, a unique feature for mixed tape/diskoperation. In this mode, when you need tomake a transition between any two seg-ments on the same tape, the ES-7 automat-ically copies one of the segments to diskand an A/B roll edit is performed.

Realtime Layering As the ES-7 enables simultaneous 2-chan-

nel playback and 1-channel recording,repeated digital A/B roll, chroma keyingand titling are done in realtime. Operationsare performed internally in the disk unit,and therefore in a totally digital domain.Optimum performance is achieved forcomplicated multi-layered effects.

Dynamic Motion Control Fixed speed Dynamic Motion Control pro-

vides slow and fast motion of uploadedvideo material. A fix speed setting foruploaded video clips can now be specified.

ClipLink Operation ClipLink operation saves considerable disk

space and time. Clips made during acquisi-tion with DVCAM camcorders can be sentto the ES-7 via a DSR-60/80/85/2000VCR. Clips include data corresponding toMark In and Mark Out points (SMPTEtime code), OK/NG status and scene num-bers accompanied by a still Index Picturefor at-a-glance identification. Clips arethen used to make rough editing decisionsprior to uploading the actual video/audio.This means that only the selected clipsneed to be uploaded.

Multiple Inputs/Outputs Offers analog composite, S-Video, RGB

and component input and output. SDIand SDTI(QSDI) are also supported by anoptional interface. In addition, the ES-7can connect up to four VCRs to edit froma variety of video sources simultaneously.

EDL and File Exchange The edits on the ES-7 timeline can be con-

verted to the Sony, CMX and GVG EDLformats for export (also imports) to otherediting system for off-line editing opera-tion. Project files can also be exchangedbetween multiple ES-7 EditStations, usingeither ethernet or MO disk.


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The backbone of the ES-7 is itssimple to use and highly effec-tive GUI. Designed on the basisof operator needs, several typesof GUI patterns are provided,and they can be combined inmany ways to suit different userneeds and experience levels. All “tools” are clearly laid out onthe display. Instant access toclips and an intuitive “drag anddrop” operation make theEditStation system fast to learnand easy to use.


High Performance DME SwitcherThe ES-7 isequipped with anadvanced DMESwitcher incorpo-rating 4:2:2 sig-nal processing.

It offers highquality linearkeying such aschroma andluminance key, linear downstream key and key-mask capability. Select from over 450 digitalrealtime effects in category groupings, and modify them to suit your creative impulse. In addi-tion to cut, dissolve, picture-in-picture, wipe and 2D effects like rotate, slide and mosaic withborder, softness and soft border, 3D effects such as perspective, page turns or page rolls withlighting/trail can be selected.

We are on the web at: www.bhphotovideo.com

Audio Mixer Fully automated audio-follow-video per-

formance is offered as well as independentcontrol of all eight channels. Each chan-nel has low-cut/high-cut filters, 3-bandEQ, delay control, pan-pot, mute andlevel control. Tone generator, effects andpitch control are also provided. Masterfaders are installed for all four outputs.

Narration Recording You can record a narration voice on any

sound track on the time line, and even pre-view the picture while narration is beingrecorded to disk in real-time. You can listento previously recorded narration usingPreview; this makes it easy to re-narratefrom any point.

Variable Audio Level Graphically adjust variable audio level

settings in a single clip with simplifiedrubber band style. With rubber band sys-tem, fader setting track is prepared on thetimeline. Each track has two rubberbands for L and R and you can make set-ting for each rubber band. It is highlyuseful, when you want to adjust the levelof BGM in the narration, for example.

File Import/Export Use computer graphics to create more

attractive, high impact productions. AVI,QuickTime and sequential TGA (withalpha-channel) files can be imported intothe ES-7 as video clips. The sequence onthe time line image can also be exportedto movie files, such as AVI, QuickTimeand sequential TGA files.

ESDraw In addition to the Text Composer soft-

ware, add flare to your text with ESDraw.A compositing type software, ESDrawallows geometrical drawings like circlesand polygons to be created, as well asborder lining, shadowing and coloring.Independent channels enable each object,border line or shadow to be transparent.Third-party graphic files like paint andtitles can also be imported. All graphicscan be created directly on the live picturewith the GUI observed simultaneously.

Sophisticated GUI For Easy-to-Use Operation

Advanced Editing Features

Timeline marking and 3-point editing

Built-in waveform monitor and vec-torscope for checking video levels andcolor information of each clip.

Effects Rubber Band allows the transitioncontrol to be customized so that youachieve the desired effects curve. For exam-ple, allowing effects to “held” at the mid-point for split screens, 50% dissolves, andso on.

Both off-line and on-line editing can beperformed. Because both modes are avail-able within the same system, the sameexact effects used for the off-line can beused for the on-line edit.

OverWrite and Splice Mode: In Splicemode, any clips already on the timelineripple backwards, and the duration of thetimeline sequence changes. In OverWritemode, the timeline sequence is overwrit-ten. This is convenient when you don’twant the duration of the sequence altered.

Slide and Slip trim capabilities: Slide trimallows you to adjust the position of a clipwith reference to the proceeding/followingclips and maintaining its In/Out points.Slip trim allows you to move the In/Outpoints of a chosen clip at the same timewithout affecting the surrounding clips.The duration of the chosen clip and sur-rounding clips are not changed.

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S O N YES-7/AN3D and ES-7/DIGI3D Systems

ES-7/AN3D System Includes:

As well as controlling the system with a keyboardand mouse via the GUI, you can perform operation with the conventional-style control panel.

ES-7 Main Chassis

ES-7SPT1 SupportNet Package

ESBK-7011 Control Panel

ESBK-7023 Advanced 2D Switcher Board

ESBK-7024 3D Effects Board

ESBK-7041 Disk Recorder Board (cancontrol up to 4 ESBK-7046 drives)

ESBK-7046 36GB (4x 9GB Hard Disk)

ESBK-7051 SCSI Board

ESBK-7071 ESDraw Software

ES-7/DIGI3D System Includes: Same as above plus it adds:

ESBK-7031 QSDI Board ESBK-7032 SDI Board

ES-7SPT1 SupportNet package provides youwith extended hardware, software and prod-uct support services including RemoteDiagnostic Support by Sony’s ProductOperation and Support Center (POSC).

ES-7 SPECIFICATIONSAnalog Video Inputs:

3 sources (P1/P2/R) selectable from Y/R-Y/B-Y com-ponent, composite or Y/C

1 source (AUX) selectable from composite Y/R-Y/B-Y,G/B/R/Sync, BNC

Genlock input (BNC)

Digital Video Inputs2 (P1, P2/R) x SDTI(QSDI) 3 (P1, P2/R) x SDI

Analog Video Outputs PGM and Monitor outputs: Y/R-Y/B-Y, composite and Y/C

Black Burst (x4)

Digital Video Outputs 1 x SDI PGM output (R), BNC 1 x SDTI (QSDI) PGM output (R), BNC

AUDIOAnalog Audio Outputs

4-Ch x 3 sources (P1/P2/R), 3-pin XLR 2-Ch x 1 sources (AUX), 3-pin XLR

Digital Audio Outputs 2-Ch x 1 source (AUX), selectable from AES/EBU

Analog Audio Output Line Out: 4-ch, 3-pin XLR Monitor Out: 2-Ch (1/3 and 2/4), RCA

Digital Audio Output Embedded audio in SDI/SDTI (QSDI) outputs

ESBK-7046 Rear View

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A highly cost-effective solution for ENG, EFP and generalbusiness and industrial applications, DVCPRO is a non-proprietary format, standardized as SMPTE D-7. DVCPROprovides higher quality, more advanced features and con-sumes less power — at lower cost. It really is “Better, Faster,Cheaper”.

A few years ago, in anticipation of Digital HDTV, a consortium of companies began development of a new digital VCR format. Their goalwas simple: A single, ubiquitous digital format of dramatically better quality that could replace VHS. The consortium consisted of some ofthe most powerful companies in electronics: Sony, Philips, Thomson, Panasonic, Hitachi, JVC, Toshiba, Sharp and Sanyo. Their collectiveexpertise, creativity and resources produced a revolutionary new video compression method called DV. The technology offered maximumsubjective picture performance and minimum complexity. Early on, Panasonic foresaw the tremendous potential and decided to apply DVtechnology to a new format made even more robust for broadcast quality news acquisition..............DVCPRO.

In three short years DVCPRO has become synonymous with news gathering and digital video, and over 85,000 units are in use worldwide.DVCPRO has established such a strong foothold for a number of reasons: It is cost- effective, yet it delivers the digital signals that users seekto preserve image quality. It offers the optimum trade-off of compression and quality in a hierarchy of compatible formats. Last and mostimportant, DVCPRO has a clear growth path into DTV that protects both financial and creative investments.


Smaller Size and Lighter Weight

While camera/recorders continue to improve, recent years havebrought no significant reductions in weight. Even today's mainstay,1/2-inch S-VHS and Betacam SP formats have burdensome camerasthat operators struggle with every day. DVCPRO changes all that.Using cassettes with 1/4-inch tape, DVCPRO achieves reductions insize and weight that are simply impossible with l/2-inch systems. TheAJ-D700A camcorder, for example, weighs only 11 lbs. in full oper-ating condition, while bringing a whole new level of flexibility to thefield. The DVCPRO cassette is one quarter the overall size and onesixth the weight of current 1/2-inch cassettes, yet provides twice therecording time - with digital picture quality.

Lower Media Cost

Because newsgathering and other videographic applications consumea lot of tape, tape cost is an important consideration. For example,despite the improved pictures, metal particle (MP) tape has not seenwidespread use because of its higher cost. Similarly, high tape costshave been a major drawback with Digital camcorders, and metalevaporated (ME) tapes did not prove rugged enough. DVCPROchanges this by using a metal particle tape that is much less expensivethan current metal tape. In terms of recording time, DVCPRO tapecost is about one half that of current 1/2- inch analog (Betacam SP),and about one quarter that of digital (Digital Betacam, D-5).

We Exhibit At NAB, Infocom, and Siggraph

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Compatible With the Digital Future

The popularity of non-linear post production systems is evidenteverywhere. Computer technology is creating revolutionary newtrends in the video production and broadcasting fields with editinglinked to large capacity video servers, computer graphics, digital datanetworks and communications. Like DVCPRO, all are based oncompressed digital video signals, and even though DVCPRO drawson many advantages of tape media, it adapts well to new digital-based technologies like linking to a network across digital telephonelines. In fact, companies like Quantel, SGI, Avid and Tektronix useDVCPRO compression.

A New Era of Video Journalism

Lightweight and compact, DVCPRO has ushered in an era of videojournalism in which a single person carries all the equipment neededto report a story. In addition to fully featured units like the AJ-D400,less obtrusive recordings can be made with DV-format equipmentlike the AG-EZ30. And since DVCPRO VCRs, like the AJ-D440can play back DV tapes (using the optional AJ-CS750 CassetteAdapter), DV and DVCPRO material can be intercut seamlessly. Forfurther flexibility, the portable AJ-LT85 Laptop Editor affords on-siteediting and facilitates transmission from anywhere in the world.

4:2:2 In and Out EverywhereIt is important to note that DVCPRO accepts 4:2:2 video at theinput and always recreates 4:2:2 at the output. In 50 Mb/s, thecomplete signal is simply passed (there is no sub-sampling), whilein DVCPRO the chroma sub-sampling occurs just before com-pression and a 4:1:1 signal is recorded on tape. At playback, theChroma signal is interpolated to recreate a 4:2:2 signal. It isequally important to recognize that the sub-sampling alwaysoperates on the same chroma sample or pixel, so multiple genera-tions are not adversely affected. This is significant, because thereare other means to reduce the data prior to compression that arenot so transparent. One ENG format uses traditional filteringtechniques prior to compression that effectively reduce the 4:2:2signal to about 3.75:1.5:1.5. This “prefiltering” in itself is nottragic, but when multiple generations occur, the impact of the fil-ter diminishes the performance every time.

Studio Quality AudioDVCPRO provides 2 channels of uncompressed digital audio inall models. One of the differences within the DV format family isaudio capability. In consumer DV, three varieties of audio areallowed: 32 kHz sampled 12-bit compressed (4 channel), 44.1 kHz sampled 16-bit (to match audio CDs), and 48 kHzsampled “professional” 16-bit. To make matters more confusing,48 kHz audio can be “locked” (tied to the clock and bit patternof the video) or “unlocked.”

DVCPRO uses only 48 kHz locked audio to prevent clicks andpops at edit or switch points when operating completely in thedigital domain. If the audio is not locked to video, there can beaudio samples (words in digital terms) that do not line up withthe video blocks of data, and an audio sample could be corruptedat an edit or switch point - SDI signals going through a router,for example.

Track PatternBringing the DV compression algorithm, chips and 1/4-inch tapeto broadcast television required a few important modifications tothe physical format. Having edit transitions that are free of exces-sive digital errors is critical. If miss-tracking should occur, it cancreate a high error rate that, in turn, causes a disturbance in thepicture at edit points. DVCPRO uses 18 micron wide tracks, ascompared to DV (10 microns) and DVCAM (15 microns). Thewider track results in a higher quality, more editable recordingthat not only plays reliably, but makes DVCPRO playback com-patible with consumer DV and DVCAM recordings.

MP tape affords DVCPRO two conventional longitudinal tracks.One provides an additional audio “cue” track during shuttle andsearch modes (digital audio is available during jogging and vari-able-speed modes), and the other provides a control track fornear-instantaneous servo lock-up and color-frame identificationwhere appropriate. Color framing is important, because althougha component format, DVCPRO may be used in a compositevideo environment, and the proper color frame should be usedwhen the signal is once again encoded to optimize picture quality.

Tape TransportThe DVCPRO tape transport mechanism is just one-sixth thesize of conventional studio type analog component VCRs. Thisultra-compact, high precision mechanism contains a 21.7mmdiameter head cylinder rotating at 9000 RPM. Because there isminimal frictional wear on the heads and head cylinder, the headslast longer and need to be replaced less frequently. Minimaldropout occurrence means less error generation and perfect digi-tal pictures. Durability has been improved in each component,resulting in a mechanism that delivers higher reliability, longerservice life and lower maintenance costs. The aluminum die-castchassis - a Panasonic tradition - is exceptionally long lasting andable to resist the effects of environmental change.

DVCPRO Infrastructure

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The power of DVCPRO is the combination of a remarkablevideo compression system with a unique tape recording mecha-nism. DVCPRO does not use M-JPEG like some NLE systems,nor does it use MPEG like DVD. However, like MPEG, DVcompression is DCT-based, using Discrete Cosine Transform toconvert the video to coefficients. And unlike MPEG, it wasdesigned for video production by video experts rather than bymathematicians for digital transmission. DV compression is ahighly deterministic, constant bit rate, I-Frame only, Feed-Forward Variable Quantizing system. In short, it is precisely spec-ified, constant bit rate, and video friendly. Most important, it isextensible, able to accommodate standard definition and highdefinition television with tremendous cost-effectiveness.

DCT based video compression generates a series of coefficientsthat represent the image. Compression occurs when those coeffi-cients are truncated, rounded or discarded. If the close-to-zerodata from the DCT conversion can be preserved, the compressioncan be “lossless”. In 25 Mb/s DVCPRO, the compression processcreates four adjacent luminance DCT blocks and two chromi-nance blocks in each macroblock. The coefficient data is squeezed(compressed) to fit the blocks and the 5:1 compression. Anyexcess data (overflow) is automatically “shoe-horned” into spacewithin already filled blocks (if such space is available), or it is lost.

DVCPRO 50 uses two compression chip sets operating in paral-lel, each processing a 2:1:1 stream to generate the resultant 4:2:2signal. The macro blocks in each of the 2:1:1 compressionstreams of DVCPRO 50 actually are structured just likeDVCPRO, but consist of a luminance block, a dummy block,another luminance block, and another dummy block (plus thesame two chrominance blocks). However, this time any excesscoefficient data from a luminance block has an entire, emptyblock for the “automatic” overflow function to use. The space ofthe empty blocks is thus filled, and the compression ratio is only3.3:1 - virtually lossless for almost any video signal short of ran-dom noise.

In technical terms, the DVCPRO compression system is an intra-frame (meaning each frame is independent and editable) with a5:1 compression ratio. Designed for equipment like camcordersthat need to both record and play, DV compression is physicallysmall, low power and fully symmetrical. The chip set is economi-cal, requires minimal memory, and functions as both decoder andencoder. Unlike MPEG, where a stream splice may require flagsor complex “digital housekeeping” for editing, every DV framestands on its own. There are simply no inter-frame editing prob-lems.

DVCPRO compression is Feed Forward and Frame/Field adap-tive. Generally, compression systems work on one frame, butwhen there is significant motion between the two fields that makeup the frame, the natural coherency of the image is destroyed.

This impairs the image, so DVCPRO adapts between two DCTmodes - depending upon the amount of motion. Unlike JPEGand MPEG, it has a feed-forward technique. The process uses animage complexity estimator to select one group of 16 quantizingtables from the 64 total available. The coding system then runseach of the 16 tables in multiple parallel virtual compressions toproduce 16 sets of results. The one that most closely achieves theproper length data packets is selected, and the actual compressionis performed. This occurs hundreds of times for every frame andis the reason for the excellent compression performance.

Digital video is made up of (Y) Luminance sampled at 13.5MHz, and (R-Y, B-Y) half-sampled color difference (4:2:2). Toget the best quality at the most efficient data rate, DVCPROretains the 13.5 MHz Luminance sample rate and sub-samplesthe Chrominance components again (4:1:1). Because this processis done precisely in the digital domain and not by conventionalfiltering, multiple passes or generations are not degraded. Therewas some concern about subjective color imagery with 3.375MHz sampling, but DVCPRO has demonstrated chroma perfor-mance equal or superior to that of conventional component ana-log formats like Betacam SP.

The DVCPRO compressed signal is 25 Mb/s, and this has beenwell accepted as an excellent mix of tape usage, picture quality,and equipment cost. Nevertheless, as good as DVCPRO is, thetruth remains that “less compression is better”. The post-produc-tion community wished for the same sophisticated compressiontechnique in a more robust (less compressed) form. So DVCPROwas extended to DVCPRO50 by doubling all the compressionparameters. Two 25 Mb/s chips could do 50 Mb/s and yield 3.3:1compression of 4:2:2 signals. However, the most significant aspectof DVCPRO50 is not the additional color detail, but the lowerand effectively lossless 3.3:1 compression ratio.

The proven simplicity, interoperability, and cost-effectiveness haveattracted many companies to develop non-linear and server prod-ucts based on DVCPRO. For them, the ability to move materialfrom device to device using computer network technology repre-sents the next transformation of the video infrastructure. Thiscoherent, compatible structure allows development of “agile”interoperable decoders and has prompted more than 20 compa-nies to participate in the DVCPRO Partners Program.

Compression System

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Head SystemDVCPRO uses a MIG (metal-in-gap) head that provides theoptimal head efficiency required for high-density digital magneticrecording. This advanced head delivers excellent recording andplayback, and in conjunction with the low tape tension, offerslong life and resilience to head clogs. Use of a floating bearing inthe head cylinder has enabled a smaller unit and higher rotationalspeed. The DVCPRO helical head system is high in quality, inex-pensive, and easy to service.

DVCPRO uses a fixed head that assures reliable long-term perfor-mance at minimal cost. The system consists of 6 heads: two forrecording, two for playback and two for flying erase. This allowsthose models equipped with dual codes to provide confidenceplayback of the recorded data. The heads are all used simultane-ously for “off speed” playback to increase the amount of datarecovered and thus enable “Digital-Slow Motion.”

Faster Than Real-Time One of the benefits of digital video in the compressed domain isthe ability to move the information in non-real-time , either slow-er or faster than “normal” play speed. Just as CD-ROM driveshave gone from 4x to 32x, video equipment is changing. Allvideo used to be real-time , and much of it still is - certainly play-back for viewing is real-time. However, this should not be con-fused with “trick play” (slow motion or program play) where theVCR uses track-jumping techniques to make one viewable picturefrom pieces of different tracks. For non-real-time , the entirevideo signal needs to be read or written to the tape, so specialtape decks like the AJ-D780 are used.

While it is possible to use this capability for dubbing, the realadvantage is transfer to and from disk based systems that do nothave the constraints of physical tape. One example is thePanasonic AJ-DE77 “Newsbyte” Non-Linear Edit system thatuses an internal 4x deck to move field footage to the disk drivesfor editing and back to tape for archiving. Of course, once audioand video signals are on disk, computer networks can move theinformation transparently as files using FTP (file transfer proto-col). Because network technology is currently at 100 Mb/s,DVCPRO can move at about 2x. As faster networks, like fibrechannel and Gigabit Ethernet, become common-place, thosetransfers will get faster. Many high-end users already use SDI(Serial Digital Interface) to connect digital video devices. Theaudio and compressed video signal can be sent over that sameinfrastructure as SDTI, meaning data carried via SDI. The SDTIinterface can carry DVCPRO at 4x as a stream, and the AJ-D780is supplied with this capability.

DVCPRO TapesDVCPRO tape incorporates ultra-fine high-energy magneticmetal particles that are one third the size of particles in conven-tional tape. These particles not only make a thinner magneticlayer possible, but they also boast superb magnetic characteristics,thanks to Panasonic's original slanted deposition technology. Bydispersing the particles directly onto the tape in an extremelydense formulation, a magnetic energy output that is over 200%higher than conventional tape is achieved.

The surface of DVCPRO tape features Panasonic’s ultra-flat basefilm and advanced calendering techniques to eliminate space lossand micro-dropouts. Its structure also prevents atmospheric per-meation, preventing creation of oxide substances. A lubricant isapplied to the tape surface, assuring trouble-free recording even inbitter cold or other extreme conditions.

These features give DVCPRO tape an extremely smooth surface,outstanding durability, long shelf life and stable tape transport,even under the stress of high-speed search. This high performancetape makes high-density digital recording possible, deliveringDVCPRO's exceptional picture and sound quality.

SMPTE D-7DVCPRO has been widely accepted by broadcasters and programproducers, domestically and internationally, as SMPTE D-7. Theformat offers digital component quality at analog prices, record-ing on robust industry-standard metal particle tape. It offers sizeadvantages for acquisition and archiving, and it utilizes a low-cost, widely available compression engine with fully defined per-formance. Numerous companies offer compatible products basedon the same compression, giving high-speed, transparent digitalconnections to disk-based editing systems and servers. It offersvideo industry-standard features and SDI/SDTI connections witha bridge to the computer industry through networking and filetransfer.

DVCPRO has been proven to be extensible with the availabilityof fully compatible DVCPRO 50 product, which works in either25 or 50 Mb/s mode. And some models operate with interlace orprogressive scan video. The announcement of DVCPRO 100indicates that DVCPRO will have a role in HDTV for cost-effec-tive field acquisition, and the structural relationship among theDVCPRO formats assures customers a logical progression andmigration to DTV.


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1/3-inch 3-CCD DVCPRO CamcorderThe AJ-D215 is an affordably priced camcorder that brings the superiorrecording capability of DVCPRO to a wide range of users. Designed for usein the field it uses lightweight, detachable 1/3˝ professional lenses, weighs

only 13 pounds in full-operating configuration, consumes only 16 watts ofpower, and when used with large DVCPRO cassettes, provides 123 min-utes of continuous recording.

Other features include a highly-sensitivity Interline Transfer (IT) CCDthat delivers 500 lines of resolution, high S/N ratio of 60 dB, minimum

illumination of 5 lux, outstanding sensitivity and a wide dynamic range. Inaddition, there are a host of conveniences, such as One-Touch Camera Status Report and

Scene Data function.


Digital Recording Digital component recording delivers out-

standing picture quality across a 5.75MHz video bandwidth. In addition,recording with Error Correction codingmakes it highly resistant to media varia-tions that cause dropouts and dramaticallyimproves both recording quality and relia-bility. Digital audio recording deliversexcellent sound with a 48k Hz sampling,16 bit 2-channel PCM system.

Optional Digital Interface With the optional AJ-YAD210P Interface

board installed, the camera can digitallytransfer video and audio signals that con-form to IEEE1394. But unlike the con-sumer DV interface,”locked audio is trans-mitted”. Use the board to digitally dub toa properly equipped AJ-D230H/AJ-D250,or for upload to a PC.

Camera Status Indicator With the touch of a button, the AJ-D215

will momentarily display a list in theviewfinder of all camera switch settings .This comprehensive status report providesan overall system check, enabling criticalfunctions to be properly set before shoot-ing starts. You can also customize theviewfinder display to show only the set-tings you want.

High Density CCDs Thanks to double-density pixel distribution,

the AJ-D215’s CCDs deliver the same highlevel of resolution as a CCD with 410,000pixels. They also features a large light col-lecting area to ensure high S/N ratio, out-standing sensitivity and a wide dynamicrange.

Low Light Capability CCDs with on-chip lens and +18 dB gain-

up allow high quality shooting, even in lowlight down to 5 lux. A choice of 5 gain set-tings are available (0, +6, +9, +12, +18 dB).

Three Hour Recording DVCPRO large-size cassette enable indus-

trial, event and wedding videographers torecord up to 184 minutes – a majoradvantage over formats that are limited toone hour or two hour recording.

Auto White Balance The AJ-D215 is factory preset with three

white balance settings for use indoors(tungsten), outdoors, and under fluores-cent lighting. You can also store additionalsettings in memory for quick recall. AutoTracing White (ATW) balance is alsoavailable.

Playback Capability Provides color playback on a monitor

directly from the video output connector,without the need for a playback adapter.This lets you check your pictures on-site,and allows microwave transmission toanother station.

Time Code Operation Time Code can be selected as Drop/Non-

Drop Frame and Record Run/Free Run. InFree Run, time code runs continuously(even in Pause).

Anton Bauer Compatibility The AJ-D215 s equipped with a gold

mount plate for mounting Anton BauerDigital batteries. While the battery is inuse, the remaining power is displayed inreal-time (not just a graphic) in theviewfinder. Also, when using the AntonBauer Ultralight, on/off control of thelight can be synchronized with the RECStart/Stop function on the camera.

Lens Compatibility Although the AJ-D215 uses 1/3˝ lenses, an

optional adapter (from Fujinon) allowsyou to attach a 1/2˝ lens for an evengreater choice of lenses.

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Record Review Pressing the RET button while in Record

Pause mode allows you to check what wasjust recorded (review from 3 to 10 sec.).

Scene Data Function When shooting, you can set a time code

and one additional mark (a scene mark).The information is temporarily stored inthe camera’s memory, then recorded ontothe tape when the cassette is ejected. Later,when editing, all the scenes that weremarked can be viewed. Selected scenes orall scenes can be simultaneously uploadedto the system’s hard drive. (For use withDVCPRO non-linear editing systems.

1.5˝ Viewfinder 1.5˝ B/W viewfinder with 600 lines of res-

olution for instant confirmation of focus,exposure and safe shooting area, as well ascamera settings. Easy to use viewfindermechanism allows fast adjustment forcomfortable operation by different users.

In addition, a detachable 50mm diametereyepiece and adjustable diopter insure pre-cise focus for nearly all prescription-wear-ing operators.

Viewfinder controls include: Contrast,Brightness, Tally on/off, Zebra on/off andCharacters (displayed) on/off.


Interline Transfer 1/3˝ CCDSensor w/On-Chip Lens (x3)

Sensitivity:2000 Lux w/f/5.6 ±1⁄2 3200k

Minimum Illumination:5 Lux (f/1.4 + 18 dB Gain)

Shutter Speed:1/100 to 1/800-sec.

S/N Ratio:60 dB (Typical)

Resolution:Horizontal: 500 TV LinesVertical: 400 TV Lines

Gain:0/+6/+12/ dB, 0/+9/+18 dB


5 minutes w/ AJ-P123LP

Video S/N Ratio:55 dB

Video Out:Composite: BNC (x 1) S-Video: 4-pin (x 1SW: Tally, Zebra, Character

AUDIOSampling Frequency:


Frequency Response:20Hz to 20kHz,

AGC Level: Standard, +8 dB

Front Mic In:XLR Balanced,-60 dB 3kΩ-60/-50/-40/dB Selectable

Audio In (CH1/CH2):Mic/Line Switchable Mic:-60/-50/-40/dBSelectable, Line:-6/0+4 dB Selectable,

Audio Out (CH1/CH2):RCA,-6 dB Unbalanced,

Headphone:Stereo Mini Jack


1.5˝ Monochrome

Horizontal Resolution:600 TV Lines

Control:VR: Bright, Contrast,Peaking,

GENERALPower Requirement:


DC In:XLR 4-Pin (Male)

Power Consumption:Less than 16w

DSP Processing Digital circuitry optimizes picture quality

and ensures that characteristics remain stable, regardless of temperature change,aging or vibration. Also simplifies opera-tion and minimizes maintenance. Camerasetups (easily adjustable, even on location)include:

– Target brightness of the Auto Iris can beset in 0.1 increments from -3.0 to 3.0

– 0% or 7.5% IRE Selectable Setup Level– Fine adjustment of detail from 0 to 16– Fine adjustment of Chroma phase. Any

value from -32 to 32 can be selected.– Adjustment of Chroma Gain (the higher

the value, the greater the intensity of thecolors). Set any value from 0 to 63.

– Selectable 4:3 or16:9 Aspect Ratio– Selectable shooting modes: Normal mode

(for ordinary shooting) or Frame mode (for a “skipped frame” effect)

Inputs/Outputs Equipped with composite (BNC) and

S-Video output. Switchable two-channel line/mic input

(XLR) with 48v phantom power supply.There are level controls for audio CH-1/2so you manually set audio recording levelsif desired.

Stereo earphone jack for monitoringaudio. The camera also has a built-inmonitor/speaker.

Additional Features Built-in Color Bar Generator High speed electronic shutter from 1/100

to 1/8000 of a second. Time/Date Stamp

(Year/Month/Day/Hour/Minute Maintenance Menu indicates operation and

drum running in hours and threading.(Number of times tape was loaded to date)

AJ-D215 Millennium Package:• AJ-D215 Camcorder• Fujinon 17:1 Servo Zoom Lens• Two Anton Bauer Trimpac 45-watt


• Anton Bauer 2-Position Quick Charger• Anton Bauer 25-watt Camera Light• Tripod Adapter

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1/2-inch 3-CCD DVCPRO CamcorderSetting a new cost-to-performance standard for digital camcorders,the the AJ-D400 features three low-smear, low-noise 1/2˝ 410,000-pixel FIT CCDs and offers many of the same top-level functions

that have made DVCPRO camcorders the number one choice fornetwork news gathering operations worldwide.Ideal for applications from event video to ENG, the AJ-D400weighs under 13 pounds with lens, viewfinder, tape and bat-tery, and consumes only 23 watts of power an hour. It can

record for 66 minutes and can play back pictures in full color onan external monitor. The AJ-D400's +30 dB gain-up allows high-

quality shooting all the way down to 2 lux. Digital component record-ing delivers superb picture quality with superb 55dB S/N ratio. Digital audio include 48 kHz/16-bit, two-channel PCM. The AJ-D400's digital circuitry assures simple operation, minimal maintenance and a host of image-processing func-tions such as Gamma Correction and Auto Knee. Additional features include: Programmable one-button Super Irisand Super Gain; Synchro Scan Shutter; Shockless auto control that adjusts the white balance according to the imagebeing shot; SMPTE Color Bars; genlock input; SMPTE Time Code Generator/Reader; One-touch camera status andrecord review functions; built-in monitor speaker; phantom power supply; optional 26-pin VTR connector and TimeCode input/output.

Three 1/2-inch 410,000 pixel FIT (FrameInterline Transfer) CCDs with advancedon-chip technology provide low noise andhigh performance in low light shooting.The camera delivers 750 horizontal lineresolution, high sensitivity of F8 at 2000lux, ultra low smear and flare, and superb62dB signal-to-noise ratio.

11 Gain settings (up to +30 dB) allowshigh-quality shooting and capture of clearimages, even in low light down to 2 lux.

High speed electronic shutter up to1/2000 of a second. In addition, the cam-era offers two special shutter modes:

—Synchro Scan Mode: Use when shootingcomputer monitors without flicker.Frequency can be switched continuouslywithin the range of 30.4 Hz to 250.0 Hz.

—High Vertical (Super V) mode: Providesimages with high vertical resolution, com-pared to standard mode.

Black Set, Black Balance and WhiteBalance can be adjusted by simple switchoperations. Adjustment values are held inthe memory even if the power is turnedoff – there is no need to readjust the bal-ance each time the power is turned on.

Two memories for White Balance (A, B)as well as a preset for 3200°K.Adjustment values for each of the ColorConversion (CC) and Neutral Density(ND) filters can be stored. The camerahas four filters, making a total of 8 (4 x2) adjustment values which can be stored.

Exclusive to Panasonic, the AJ-D400 pro-vides Shockless Auto White Balance con-trol. This function ensures that no shockoccurs when A/B/Preset setting of theWhite Balance switch is changed. Fast(high speed), Normal (normal speed) orSlow (low speed) can be set as the selec-tion time. Assures natural, easy-to-viewimages, even when there are suddenchanges in darkness or brightness levels.

VCR Section Digital component recording delivers out-

standing picture quality across a 5.75MHz (Luminance) bandwidth, while S/Nratio is an unbelievable 55 dB. Digitalrecording is enhanced by advanced ErrorCorrection, making it almost imperviousto drop-outs.

Inputs include Genlock (BNC), XLR-bal-anced switchable Mic/Line audio inputs.

Playback pictures (black and white) canbe seen on the viewfinder screen. In addi-tion, color playback pictures can be seenon a monitor connected to the video out-put connector.

Record Review function automaticallyrewinds the tape and plays back the lasttwo seconds recorded, allowing recordedcontents to be quickly checked.

Images can be shot successively within anaccuracy of 0 to +1 frame simply by press-ing the VTR Start button or the lensVTR button.

Corporate Accounts Are Welcome

Camera Section



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SMPTE Color Bars Generates SMPTE color bars as well as a

reference audio signal to facilitate colormonitor and audio level adjustments.

Camera ID of up to ten characters,including letters, symbols and spaces canbe superimposed over the color bar signalto identify the camera or tape.

Time Code Operation Built-in SMPTE Time Code generator

allows selection of Free Run/Rec Runand DF/NDF, as well as User Bits.

Time Code can locked to an externalsource using the optional AJ-YA710Pboard (RET Video input, Time Codeinput/output).

High Resolution Viewfinder Large 1.5˝ viewfinder with 600 lines of

resolution projects a detailed picture forinstant confirmation of focus, exposureand safe shooting area. Low flare CRTmakes the screen easier to see.

Equipped with character display func-tion that displays switch settings, warn-ing displays, etc. on the viewfinderscreen. Simply touch the Status buttonand a list of all switch settings aremomentarily displayed in the viewfinder.You can also constantly monitor onlythe functions you want.

One-touch position adjustment is possi-ble not only in the right-left direction,but also forward and backward.

Adjustable diopter insures precise focusfor most prescription wearing operators.

Offers three types of Zebra patterns,including Spot Zebra from two levels ofZebra patterns.

Displays center and safety zone markers.Safe Title, Safe Action and corner mark-ings are some of the choices offered.

Large aperture allows the screen to be easily seen, even when your eye isremoved from the eyepiece or when theeyepiece is detached.

3-D viewfinder adjustment mechanismallows fast adjustment for comfortableoperation by many different operators.

CD-quality audio with 48 kHz sampling16-bit recording, 2-channel PCM digital-system. Frequency response is 20 Hz to20k Hz and dynamic range is 85 dB.

Built-in monitor/speaker and earphonejack for monitoring audio.

Supplied phantom-powered super-car-dioid microphone can be attached ordetached from the camera for use ininterviews. (Optional AJ-MH700P micholder required for mounting othermicrophones.)


Compact size assures excellent mobility.Weighs under 13 pounds with lens,viewfinder, tape and battery.

Warns you of VCR trouble, end of thetape, battery wear, etc. with various warn-ing lamps and a warning tone. Remainingtape time can also be checked.

Consumes less than 23 watts of power,allowing a single Anton Bauer Trim Packbattery to power it for over an hour.

Equipped with a gold mount plate formounting Anton Bauer Digital batteries.When in use, the remaining power is dis-played in real-time in the viewfinder. Also,when using the Anton Bauer Ultralight,on/off control of the light can be synchro-nized with the REC Start/Stop button.

With the optional AJ-YA700 or AJ-YA90026-pin adapters, you can connect the AJ-D400 to a variety of portable VCRs. Thisallows you to record with the AJ-D400while making a backup recording withanother format VCR.

— The AJ-YA700 adds a 26-pin and a videoinput connector. That is, the video inputcan be selected to appear at the viewfinderbut not for recording.

— The AJ-YA900 adds 26-pin and the 12-pin "multi-connector" that is standardequipment on the AJ-D700A. You plugthe optional SHAN-C12TCA pigtail intothis connector and you get Time CodeIn/Out via BNCs and stereo audio outvia RCA connectors.

Additional Features

Digital Signal Processing Easy to set up Digital-Signal Processing (DSP) circuitry optimizes picture quality and

ensures that camera characteristics remain stable and reliable, regardless of temperaturechanges, aging or vibrations. This simplifies operation and minimizes maintenance.

Digital circuitry allows a host of sophisticated camera settings for creative image-process-ing that are effectively and easily adjusted — even on location.

—2-D Low Pass Filter eliminates cross color

—Dark Detail corrects details in dark areas

—Chroma Detail corrects degraded resolution in brightly colored areas

—Matrix corrects 6 types of color phase (R-G, R-B, G-R, G-B, B-R, B-G)

—Black Stretch gives black parts more emphasis to to provide sharper images

—Super Color lets you emphasize ‘highlight’ colors, such as those in a blue sky

—Auto Knee circuit achieves a wide dynamic range which allows large signals to passthrough

—Shading Compensation function for using a lens with an extender

Other DSP functions include Skin Tone Detail, Masking, Horizontal and Vertical Detail,Master Gamma, Black Stretch and Detail Coring—giving you even more image creatingcapabilities.

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Three FIT 1/2˝ CCD sen-sors (410,000 pixels each)with on-chip lens

Sensitivity:2000 lux at F8

Minimum Illumination:2 lux (F1.4 +30dB gain)

Shutter Speed:1/100 to 1/2000-sec.

Synchro Scan:1/30.4 to 1/57.4-sec.1/61.7 to 1/250-sec (variable)

S/N Ratio: 62dB

Horizontal Resolution:750 lines

Vertical Resolution:450 lines/500 lines (Super-V)



AJ-D400: 1.5˝ monochromeAJ-D700A: Optional

Horizontal Resolution:600 TV Lines

Control:VR: Bright, Contrast,

Peaking, SW: Tally, Zebra, Character


Recording Track:Digital VideoDigital Audio: 2 Ch.Cue: 1 Track sub codeCTL: 1 Track

FF/REW Time:3 minutes with AJ-P63M

Video S/N Ratio:55 dB

AUDIOSampling Frequency:


Frequency Response:20Hz to 20kHz, +1.0/-1.0dB


AGC Level:Standard, +8dB


Genlock In: BNC x1

Front Mic In:XLR Balanced,-60dB 3kΩ-60/-50/-40/dB selectable

Audio In (CH1/CH2):MIC/LINE Switchable Mic:-60/-50/-40/dBselectable, Line:-6/0+4 dB selectable,


BNC x 1

Video Out: BNC x 1

Audio Out (XLR):CH1/CH2/Mix selectable +4dB balanced, low impedance 12-Pin Multi-Connector -20dB Low impedance

Earphone: Stereo mini-jack x2

GENERALPower Requirement:


DC In: XLR 4-Pin (Male)

Power Consumption:23 watts

Weight:12.87 lbs. including lens,viewfinder, tape and battery

Most Orders Shipped Within 24 Hours

1/2-inch 3-CCD DVCPRO CamcorderAlmost identical to the AJ-D400 (previous page), the AJ-D700 has the same features and specifications, plus itadds several functions for even more advanced operation.It offers an analog composite video input allowing theAJ-D700A to work as a recorder for “Pool FeedOperation” and time code input/output capability allowssynchronization to an external time code. And, with theability to store different scene files on widely availablePCMCIA cards, the AJ-D700A takes versatility to the next level.

SMPTE Time Code input/output and stereo audio output via 12-pinmulti-connector (optional SHAN-C12TCA Time Code/AudioCable required)

Equipped to handle a variety of field work, thanks to terminalsfor analog video input (BNC) and audio line input (XLR x 2)

Front and rear head phone jack for added convenience (AJ-D400doesn’t have a front jack only a rear.).

The camera’s set-up file can be saved and stored on widely avail-able PCMCIA cards. Creating and saving a variety of files makes itquick and easy to adapt the camera to different shooting conditions.It also allows easy set-up of two or more AJ-D700s with the sameparameters. Digital setups provide perfect camera matching withunprecedented ease.

The AJ-D700A doesn’t include a viewfinder as standard. Choosebetween the AJ-VF10 (standard) and AJ-VF15 (high grade).

Same Features as the AJ-D400 PLUS—

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Optional Accessories for the AJ-D215/D400/D700A





Fujinon S14X7.5BRM41/2-inch 14:1 Servo Zoom Lens

Canon YH14x7.3KRS1/2-inch 14:1 Servo Zoom Lens

Canon YH18X6.7BKRS1/2-inch 18:1 Servo Zoom Lens

Fujinon S19X6.5BRM41/2-inch 19:1 Servo Zoom Lens

Fujinon S19X6.5BERM41/2-inch 19:1 Servo Zoom with 2X

BN064HSR 64K SRAM Card

AJ-YA700 26-pin Connector

AJ-YA900 26P VTR Connector

AJ-YA710 Time Code Input/OutputModule with Video In

AJ-YA711 Cable assembly for usingthe WV-VF65B with AJ-D700

AJ-MH700 Microphone Holder

AJ-MC700 Microphone Kit

AJ-B75 AC Adaptor

U-M402H Battery Holder

SHAN-B220 Battery Adapter for AU-BP220 and NP-1 batteries

AJ-VF151.5-inch High Resolution Viewfinder

WV-VF65B 5-inch Studio Viewfinder(requires the WV-Q71 and AG-YA800)

WV-Q71Battery Bracket for the WV--VF65B

AJ-VF535-inch High Resolution Viewfinder

SHL-QVF5D700Mounting Bracket for AQ-VF51

SHAN-RC700 Rain Cover

SHAN-B700Thermodyne Shipping Case

14:1 Lens Package (#AJD40014H)• AJ-D400 Camcorder • Fujinon 14x7.5BRM 14:1 Zoom Lens• AJ-VF10 Electronic Viewfinder • Microphone• SHANTM700 Tripod Plate Adapter• Anton/Bauer Gold Mount Plate (Installed)• SHAN-B700 Hard Carrying Case

14:1 Power Package (#AJD40014HB)Same as above Plus—• 2 Anton/Bauer HyTron 50 Batteries and Q2 Charger

18:1 Lens Package (#AJD40018)• AJ-D400 Camcorder • Canon YH18x6.7BKRS 18:1 Zoom Lens• AJ-VF10 Electronic Viewfinder • Microphone• SHANTM700 Tripod Plate Adapter• Anton/Bauer Gold Mount Plate (Installed)• SHAN-B700 Hard Carrying Case

18:1 Power Package (#AJD400XLC)Same as above Plus—• 2 Anton/Bauer HyTron 50 Batteries and Q2 Charger

14:1 Lens Package (#AJD70014)• AJ-D700A Camcorder • Fujinon 14x7.5BRM 14:1 Zoom Lens• AJ-VF10 Viewfinder• AJMH-700 Microphone Holder (Optional mic required)• SHANTM700 Tripod Plate Adapter • SHAN-B700 Hard Carrying Case

18:1 Lens Package (#AJD70018)Same as above except it comes with• Canon YH18x6.7BKRS 18:1 Zoom Lens

19:1 Lens Package (#AJD70019)Same as above except it comes with• Fujinon S19x6.5BRM4 19:1 Zoom Lens

18:1 Power Package (#AJD700XLC)Same as AJ-D70018 Plus—• 2 Anton/Bauer HyTron 50 Batteries and Q2 Charger

19:1 Power Package (#AJD70019B)Same as AJ-D70019 Plus—• 2 Anton/Bauer HyTron 50 Batteries and Q2 Charger

AJ-D400 Packages AJ-D700A Packages




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DVCPRO Laptop Editor Combining two VCRs, two monitors, speakers and an edit controller in a singleunit, the AJ-LT85 provides editing capabilities that go anywhere — from thefield to the production room. Utilizing the DVCPRO format, the AJ-LT85 isa laptop editor that is incredibly powerful, yet compact, lightweight and high-

ly portable. Take the AJ-LT85 with you in the field for on-site editing. Oruse it in-house where it connects with a host of external equipment;provides control over an external VCR via RS-422; and allowsediting with archived material recorded in other formats. It alsohas time code input and output terminals for synchronized record-ing, and allows uploading and downloading of EDL data.

Dual DVCPRO VCRs Each of the VCRs is equipped with com-

posite video and audio inputs/outputs(XLR, 2-Channels), component videooutput, reference input, video and audiomonitor output and RS-422 remoteinterface. The AJ-LT85 not only offersstand-alone editing, but also recordingwhen connected to a camera, or dubbingwith another VCR. Connect an externalVCR via the RS-422 terminal on theVCR 1 side, and the AJ-LT85 can controlit as the source VCR and edit from it onthe VCR 2 side. This greatly simplifiesediting and dubbing from archived mate-rial recorded in analog component orother formats.

The VCRs can also make recordings fromtwo different sources at the same time (orsend playback to two different externalunits). They can also serve as players inan A/B Roll system and offer encodercontrol including: Video Gain, Hue,Setup, Chroma Gain, H phase, SC phase(fine/coarse).

Editing Functions Designed for editing efficiency, you can

use VCR 1 as a player and VCR 2 as arecorder for easy assemble and insert edit-ing. A 100-event memory makes it easyto add the cuts you want, one afteranother. In insert edit mode, video, bothaudio channels and time code can each beselected separately.

In insert edit mode, you can add narra-tion through the mic input. Split editing,in which the timing of the video andaudio are shifted, can be done usingeither the video or the audio as reference.“Swap” editing lets you interchange andrecord two audio source channels.

Equipped with a host of functionsdesigned for quick, easy editing, includ-ing Go To, Trim (+/-), Last Edit andPreview/Review. Each of the VCRs has itsown Jog/Shuttle dial with forward orreverse searching up to 32x normal speed,adjustable in 19 steps.

EDL Capability During multi-event editing, you can dis-

play the EDL on the monitor for easychecking. On-screen display makes it easyto adjust many editing-related settings.

An EDL terminal (9-pin) lets youup/download EDL data that has beenrough-edited on the AJ-LT85, to be usedfor final editing in the studio. Also letsyou store EDL files on a PC.

DVCPRO Quality DVCPRO format provides the exceptional

picture quality of component digitalrecording, while two 16-bit digital audiochannels with 48 kHz sampling provide asound to match. Quality remains superb,even after multiple generations of editingor dubbing, and you can record a full 184minutes with the AJ-5P92L cassette.

SMPTE Time Code Each VCR features a built-in SMPTE

Time Code generator and reader, makingit possible to edit with frame accuracy.CTL editing is also possible. The countercan be switched to show tape remainingtime.

Equipped with Time Code input and out-put terminals that let you synchronize toan external time code. This is especiallyimportant when recording simultaneouslywith multiple cameras.

Overnight Shipping Available

AG-LT85 Rear

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Totally Portable There has never been so much editing

equipment in such a small package. TheAJ-LT85 fits two VCRs, two monitorsand an edit controller in a compact pack-age weighing less than 26 lbs. With thepanel closed, it is about the size of anattache case — and small enough tocarry on the plane.

A casing made of tough aluminum die-cast gives the AJ-LT85 the ideal combi-nation of light weight and rugged dura-bility. It also comes equipped with a rearpanel protector to prevent damage to theterminals while the unit is in transport.

Comes complete with a 12v DC inputterminal (4-pin XLR), while an optionalAC adapter (AJ-B75) lets you run it froman AC outlet. Driven by battery or AC,it consumes only 12v/8.5A of power,even when you are using both VCRs andmonitors.

Conveniences Offers a simple, symmetrical design and

horizontal layout. Each VCR has its owncounter display, cassette slot and controlpanel with Jog/Shuttle dial.

All essential operations are intuitive andsettings are made from an on-screenmenu, so even beginners can use it.

Precise brightness adjustment is possiblefor each 6.5˝ LCD monitor, while sepa-rate Light/Dark/Off selectors furtherreduce power consumption.

Monitor audio via the internal speakers,headphone or audio monitor output.

VCR input select switch lets you use theAJ-LT85 to record an external source, oryou can monitor the input by depressingthe Ext Check button. Convenient whenconnected to a camera and in recordstandby mode.

Additional Features Playback of Mini-DV tapes

Independent record inhibit switches

Color framing synchronization

Independent audio record/playback levelcontrol

Components of a News Gathering and Editing System

Simultaneous Recording and Playback System


Power Requirement: DC 12v

Record/Playback Time: Up to 184 min. with AJ-5P92L

FF/REW Time: 3.5 min. with AJ-5P92L

Frequency Response: 20Hz to 20kHz ± 1dB

Weight: 25.7 lbs. (11.7 kg)

Dimensions (W x D x H): 16-3/4˝ x 17-1/4˝ x 4-3/4˝

Dynamic Range: More then 85 dB

VIDEO I/OVideo Inputs:

Analog Composite: BNC x 2 (VTR1/2)Reference: BNC x 2 Composite, loop-through with 75Ω Auto

Video Outputs: Analog Composite: BNC x 2 (VTR1/2), Analog Component: BNC x 6 (Y/PB/PR)

Monitor: BNC x 2 (VTR1/VTR2), Composite

AUDIO I/O Analog Audio Input:

VTR1: XLR x 2 (CH1/CH2) Highimpedance +4/0/-20dBu

VTR2: XLR x 2 (CH1/CH2) High imp.+4/0/-20 dBu and -50 dBu on CH2).

Analog Audio Out: VTR1/2: XLR x 2 (CH-1/2) -20/0/+4 dB

Monitor (VTR 1/2): XLR x 2 0dBu,CH1/MIX/CH2 selectable (VTR 1/2independent)

Headphone: M3/Stereo x 1, Max -20dB,

OTHERS Time Code:

Input: BNC x 1 Output: BNC x 2

Remote In: RS-422A (9-Pin) female

EDL In/Out: RS-232C interface 9-Pin (male)

LCD Display: 6.5˝ x 2 (VTR1/VTR2)

Built-in Speaker (x2): VCR1/MIX/VCR2, CH1/MIX/CH2 switchable

Optional Accessories:AJ-B75 — AC Adaptor AJ-SC75 — Soft Carrying Case

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DVCPRO Desktop Player and Player Recorder Affordably priced, both the AJ-D220 Player and AJ-D230H Player/Recorder combine highDVCPRO digital quality with convenient desktopuse. With a built-in handle, measuring only 83⁄8 x53⁄16 x 153⁄8˝ (WxHxD) and weighing only 15.4lbs., they can be carried to a desk, meeting room orvirtually anywhere for recording or playback. The AJ-D220 is designed as a multi-purpose playerthat can be used anywhere and even has an RF terminal for playback on ordinary television sets. The AJ-D230H isideal for dubbing and back-up recording. Equipped with an RS-232 terminal, it can also be used as a highly versatilemultimedia VCR.

Extremely Compact Measuring only 83⁄8 x 53⁄16 x 153⁄8˝ (WxHxD),

two AJ-D220s or AJ-D230s or one of eachcan be placed side by side in a 19˝ rack.

Time Code Operation They offer built-in SMPTE Time Code

operation. Time Code is recorded onto thesubcode area of each track enabling frameaccurate precision and time code detectionduring searches. Time Code can be super-imposed on the playback image for extraconvenience when checking tapes. With theAJ-D230H, precise indexing control is pos-sible using a PC.


Equipment Leasing Available

Only a half-rack wide (87⁄16˝ W x 2113⁄16˝ H x 235⁄8˝ D) the AJ-CM32 Micro-Cart houses an AJ-D230H and rotary cassette binthat holds up to 32 DVCPRO tapes.

Super efficient robotic cassette loading and unloading system.Provides tape changes in 35 seconds or less.

Can be controlled by an external PC via RS-232 port for a varietyof automatic operations.

Two or more AJ-CM32s can be controlled simultaneously. Setthem for repeated, alternating recording/standby operation, andthey provide continuous recording with no gaps.

AJ-CM32 DVCPRO Micro-CartAn ultra-compact, low-cost video cart, the AJ-CM32 is amini-tower that fits on a desktop and holds up to 32DVCPRO tapes for up to 96 hours of recording or playback.

DVCPRO Format Digital component recording assures

superb pictures, and two 16-bit digitalaudio channels with 48kHz samplingdelivers audio quality surpassing that ofCDs. Also features one analog cue track.

They can accommodate both programproduction and broadcasting needs. Theyaccept DVCPRO AJ-P66M medium cas-settes (up to 66 minutes), as well as theAJ-5P92L large cassette (184 minutes).

DVCPRO recordings are made on ruggedmetal particle tape. However, by using theoptional AJ-CS750 cassette adapter, theycan play back Mini-DV tapes.

Analog Interface To interface with analog equipment,

they are equipped with composite (BNC),S-Video and 2-channel audio output.This allows them to provide superior dub-bing quality when used with S-VHSequipment.

In addition to offering similar inputs andoutputs, the AJ-D230H, when recording,features a video input signal stabilizer andindependent adjustment of audio inputlevels. They also offer 4-position audiooutput selection: CH-1/CH-2/CH3-4 forDV cassette playback.

Auto Functions Designed for easy operation, they can be

set to begin automatic playback or autopause as soon as a cassette is inserted. Youcan also set them to automatically rewind,eject, or rewind the cassette when the tapeend is reached.

Repeat Playback Tape can be set for Auto Repeat, either in

entirety or between any two points youset. There are three types of Auto Repeatto choose from: Memory Stop, SinglePlayback (after which it rewinds the tapeand enters Standby mode), orConsecutive (endless replay). Especiallyconvenient for demonstrations at conven-tions or trade shows.


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Power Requirement:AC 120v, 50 to 60Hz

Power Consumption:AJ-D220: 37wAJ-D230H: 45wAJ-D250: 56w

Recording Track:Digital VideoDigital Audio: 2CHTC: REC in Sub-Code AreaCue: 1 TrackCTL: 1 Track

Tape Speed:33:820 mm/s

FF/REW Time:3 minutes w/AJ-P123L

Record/Play Time:184 min with AJ-5P92L63 min. with AJ-P63M

Dimensions:87⁄16 x 51⁄4 x 153⁄8˝ (WxHxD)

Weight: 15.4 lbs.


Frequency Response:20Hz to 20kHz

Dynamic Range:More than 80 dB

INPUTS(Not on the AJ-D220)

Composite: BNC x 1 S-Video: 4-pin x 1Reference: BNC x 1Audio: RCA x 2 (CH-1/2)

OUTPUTSS-Video: 4-pin x 1

Composite: BNC x 1,

Monitor (AJ-D220): RCA x 1

Monitor (D230H/250): BNC x 1

Audio: RCA x 2 (CH-1/2)Headphone: M3 Stereo, Variable Level

RF Modulated: (AJ-D220 Only)

CH3, CH4

Audio: RCA x 4 (CH-1/2)(AJ-D250 Only)



Additional Features Forward and reverse search at 10x normal speed.

An easy-to-read on-screen display with a simple, straight-forwardlayout allows a host of functions to be easily interchanged.

Featuring the same advanced mechanism found in DVCPRObroadcast VCRs, they are still tough enough to stand up to rigorousstudio use, giving them levels of reliability and durability that setthem apart from consumer VCRs.

Remote control capability gives you the instant fingertip controlyou need to deliver effective video presentations. They can both beoperated with the optional AG-A11 Wired Remote Control, whilethe AJ-D220 comes with a wireless remote control standard.

AJ-D220 Only In addition to composite and S-Video output, the AJ-D220 fea-

tures an RF output that allows it to be connected to any televisionset (switchable CH-3/4). It is also the only DVCPRO deck thatincludes a wireless remote control.

AJ-D230H Only The AJ-D230H comes standard with a 25-pin RS-232 board,

allowing machine control from a PC. By replacing this with theoptional AJ-YAD230 Digital I/O board, you can input and outputIEEE1394 digital video and audio signals and still retain RS-232control, although in a 9-pin configuration. Or use the optional AJ-YA230 9-pin RS-422 interface board for remote control of basicoperation with the Panasonic AJ-A95 9-pin Remote Controller.

AJ-D250 DVCPRO Desktop Editing VCRIdentical in appearance and with all the same features as theAJ-D230H, the AJ-D250 adds insert and assemble editingcapability through its RS-232 interface. With the optionalAJ-A250 Edit Controller, you have a low-cost system idealfor business, schools and wedding videographers.

Connecting the AJ-D250 to the AJ-A250 through its RS-232 interface lets you performaudio and video insert and assemble editing with ±3 frame accuracy. The AJ-A250 alsooffers a preview function and has a large jog/shuttle dial. The AJ-A250 can also controlthe AJ-D230H DVCPRO and the AG-5710 S-VHS VCRs.

Installing the optional AJ-YA230 9-pin RS-422 interface board allows use with thePanasonic AJ-A850 Edit Controller.

RS-232C (25-Pin) Cable

RS-232C (25-Pin)Cable

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DVCPRO Series Editing VCRsWith the AJ-D440 and AJ-D450, Panasonic brings the superior pic-ture and sound quality of DVCPRO to professional and industrialvideo markets—without the price tag. Using digital component tech-nology, DVCPRO achieves a previously unattainable level of qualityfor event, corporate and industrial video production. The AJ-D440 is a player/feeder, the AJ-D450 an editing recorder.They feature analog and optional digital input/output, RS-232 andRS-422 interfaces, playback of Mini-DV tapes, Time Code operation,60x search and Digital Slow motion. For broadcast stations and high-end video production, the AJ-D850 adds powerful features like

V-blanking data recording and audio crossfade editing using an externalmixer. Interfaces include both industry-standard SDI and SDTI, which allows transmission of DVCPRO data withoutthe need to decompress it. Incredibly versatile, they all readily integrate into analog, digital and non-linear editing envi-ronments to offer creative solutions for applications ranging from video production to multimedia.

DVCPRO Format Digital component recording assures

superb pictures, with a video bandwidth of5.5 MHz and S/N ratio of 60dB. Usingthe optional AJ-YA750 SDI (Serial DigitalInterface) board, picture quality remainsincredibly high — even after 15 genera-tions of editing and repeated dubbing toother similarly SDI-equipped VCRs.

They can accommodate both program pro-duction and broadcasting needs with up to2-hours recording time. Use of theDVCPRO large-size cassettes provides amaximum recording time of up to 184minutes (AJ-5P92L), while medium-sizecassettes provide up to 66 minutes record-ing time (AJ-P66M).

While DVCPRO recordings are made onrugged metal particle tape, they can alsoplay back DVCAM tapes without anyadapter required. They can play backMini-DV tapes, as well, using the optionalAJ-CS750 Cassette Adapter.

Editing Functions They incorporate a control track to enable

fast servo system lock-up and robust edit-ing with short preroll times.

The AJ-D450 and AJ-D850 are editingVCRs with assemble and insert editingfunctions through a remote edit controller.Via the RS-422 interface, they performsingle-event and audio split editing. TheDVCPRO control track contains colorframe information for perfectly colorframed edits.

The AJ-D850 incorporates a built-in editcontroller for machine-to-machine assem-ble and insert editing without an edit con-troller. It also has Preview, Review andTrim functions. Using both of its RS-422ports, single event and audio split editingis possible with two AJ-D850’s or with oneAJ-D850 and one AJ-D440/D450.

Time Code They have a built-in SMPTE Time Code

(LTC and VITC) reader and all exceptfor the AJ-D440 generate time code aswell. User Bits are also provided. Timecode is recorded onto the subcode area ofeach track, enabling frame accurate edit-ing and time code detection during high-speed searches.

Digital Audio They feature two 16-bit/48 kHz digital

audio channels. There is also an analog cuetrack that permits audio to be heard whileshuttling at high speed in either direction(especially useful when digital audio isunrecoverable), or use as a third audiochannel. The AJ-D850 comes standardwith built-in AES/EBU digital (balancedXLR) input and output, while the AJ-D440/450 require the optional AJ-YA655(BNC) or AJ-YA656 (XLR) AES/EBUDigital Interface Boards.

Digital-Slow Motion They offer digital still and digital slow

motion playback at up to ±3/4* normalspeed with excellent picture quality at eachstep. Slow motion can be accessed fromthe front panel on the AJ-D850 and withan external controller with slow motioncapability (like the Panasonic AG-A850)when using the AJ-D440/D450.

*Actual speeds are: -0.43, -0.3, -0.2, -0.1, -0.03, +0.03, +0.1, +0.2, 0.3, +0.5, +0.75).

System Interface Capability In addition to the standard 9-pin serial

(RS-422) connector, an RS-232 connectoris also provided for computer control.


We Exhibit At NAB, Infocom, and Siggraph


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AJ-D850 Step-Up Features

Sub PanelBuilt-in machine-to-machine editing control capability means any VCR (with RS-422) can be directly controlled from the AJ-D850. Player/recorder select buttons areprovided, and Time Code or CTL readings from the controlled player are displayedon the AJ-D850’s counter display. Control all operations, including Search, FF, REW,Edit Point Entry, etc. An on-board, flip-up editing panel eliminates the need for aseparate edit controller by providing advanced editing operations, includingAssemble, Insert (Video, Audio CH-1, CH-2, Cue, and Time Code), Preroll, Trim,Preview, Review and Auto Edit.

For adjustment of VCR parameters, includingLevel, Phase and Gain the AJ-D440/450require the optional AU-ER65B VideoEncoder Remote Controller. The AJ-D850has adjustment from the front sub-panel anduses the AU-ER65B only for remote opera-tion.

High-Speed Search When used with an external controller, the

AJ-D440/450 provide frame by frame jogoperation and forward/reverse search withrecognizable color picture up to a blazing 60xnormal speed. The Analog cue track allowsyou to hear recorded audio, even at highsearch speeds. They also offer a whopping100x speed in FF and REW. The AJ-D850offers the same, but does not require an exter-nal controller — everything is accessed fromthe front panel.

Analog Interface They come equipped with composite and

component input and output, as well as twochannels of balanced-XLR stereo audioinput/output for easy connection with exist-ing analog equipment. There is also S-Videoinput/output (except the AJ-D850) for superior dubbing capability when used withS-VHS equipment.

On-Screen Setup Menus A number of initial settings are easily

changed, with on-screen convenience. Thedisplay is easy to read, thanks to a simple,straight-forward layout. There are five userfiles, each containing the following: Basic,Operation, Interface, Edit, Tape Protect,Time Code, Video, Audio.

Conveniences During digital recording, channel condition

lights indicate playback quality. Green meansthe error rates for video and audio are bothacceptable. Blue means the error rate for thevideo or audio playback signals have deterio-rated. Red means the video or audio signalsare subject to rectification or interpolation.

They are each equipped with a head cleanerto automatically reduce dirt on the heads.

They are compact 4 RU high and fit into a19˝ rack using the optional rackmountadapter kits. Their space-saving size allowsuse in a studio or OB van.

Search dial includesshuttle, jog and vari-able modes. The shut-tle mode allows searchup to 60x normalspeed, as well asFF/REW up to 100x.Variable mode pro-duces high quality dig-ital stills and slowmotion -0.43x to +0.75x. (The AJ-D440/D450 require an external controller).

Advanced audio control includes full control of playback as well as record levels forAudio CH-1, CH-2 and cue tracks.

Cue track input/output (balanced XLR) for use as an additional external audiotrack (linear).

Digital audio is standard with built-in AES/EBU digital input and output via two-channel balanced XLR connectors. (The AJ-D440/D450 require the optionalAJ-YA655 or AJ-YA656 AES/EBU Digital Interface Board).

In addition to the optional AJ-YA750 board for SDI input/output, the optionalAJ-YAC850 board offers SDI and SDTI input and output. SDTI uses convention-al BNC cables and routers to transfer compressed data.

V-Blanking Data recording function lets you record a variety of vertical blankingdata, in addition to closed captions and VITC. You can record up to two lines (Y)only or one line (Y/C) of vertical blanking interval data. In addition, teletext datacan be recorded according to the mode selection.

Internal RAM stores up to 20 seconds of digital audio, giving the AJ-D850 greatlyenhanced audio editing capabilities. Audio crossfade can be used to mix recordedaudio with a separate audio source, using an external mixer.

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Optional Accessories for DVCPRO VCRs

AJ-CS750 Mini DV Cassette Adapter

AJ-YA750 SDI Board for AJ-D440/450/850

AJ-YAC850 SDI/SDTI Board for AJ-D850

AJ-YA655 AES/EBU Digital Audio Board (BNC) for AJ-D440/450

AJ-YA656 AES/EBU Digital Audio Board (XLR) for AJ-D440/450

AU-ER65B Encoder Remote Controller for AJ-D440/450/850

AJ-MA75 Rack Ears (Black) for AJ-D440/450/850

RSK-DVC Rack Slides for use with AJ-MA75

RAK-750 Rack System for AJ-D440/450/850 (With Slides and Ears)

AJ-A11 Wired Remote Control for AJ-D220/D230H/D250

AJ-YA230 9-pin Interface Board for AJ-D230H/D250

AJ-YAD230 IEEE1394 Board for AJ-D230H/D250

GENERALPower Requirement:

AC 120v, 50 to 60Hz

Power Consumption:AJ-D440: 120wAJ-D450: 150wAJ-D850: 210w

Recording Track:Digital VideoDigital Audio: 2CHTC: REC in Sub-Code AreaCue: 1 TrackCTL: 1 Track

Record/Play Time:184 min with AJ-5P92L66 min. with AJ-P66M

FF/REW Time:3.5 minutes w/AJ-5P92L2 minutes w/AJ-P66M

Editing Accuracy:AJ-D450/850 Only:±0 Frame with Time Code ± 1 Frame with CTL)

Weight:AJ-D440: 33.1 lbs. AJ-D450: 35.1 lbs. AJ-D850: 37 lbs.

Dimensions:AJ-D440/450:1615⁄16 x 7 x 16 5⁄8˝ (WxHxD)AJ-D850:1611⁄16 x6 7⁄8 x16 3⁄8˝ (WxHxD)

VIDEO(Digital In/Analog Component Out)

Bandwidth: Luminance:30Hz to 5.5 MHz (±1 dB)Chrominance:30Hz to 1 MHz (±1 dB)

S/N Ratio:60 dB or More

(Analog ComponentIn/Component Out)

Bandwidth: Luminance:30Hz to 5.5 MHz (±1 dB)Chrominance:30Hz to 1 MHz (±1 dB)

S/N Ratio:55 dB

AUDIOSampling Frequency:


Frequency Response:20Hz to 20kHz (Dig. Audio)

300Hz to 6kHz (Cue Track)

Dynamic Range:AJ-D440/450: 85 dBAJ-D850: 90 dB

Headroom: 20 dB


AJ-D440/D450 (Video Out)Video Gain: ±3 dB*Chroma Gain: ±3 dB*Chroma Phase: ±30°*Set Up: ±15 IRE*Sync Phase: ±2 µsecSC Phase: ±180°

*Only with AU-ER65B Encoder Remote Controller

AJ-D850 (Video Out)Composite Video In: ±3 dBVideo Gain: ±3 dBChroma Gain: ±3 dBChroma Phase: ±30°Set Up: -15 to +30 IRESync Phase: ±8 µsecSC Phase: ±180°Y/C Delay: ±300 nanoseconds

INPUT/OUTPUT Analog Input:

Component: BNC x 3S-Video: 4-pin x 1Composite: BNC x 2, loop-through with 75Ω on/offReference: BNC x 2, loop-through with 75Ω on/off

Analog Output:Component: BNC x 3S-Video: 4-pin x 1Composite: BNC x 3Video 1, Video 2, Video 3(Superimpose On/Off )

Audio Input CH-1/2:Analog: (AJ-D450/850)XLR x 2 600Ω, 4/0/-20/-60 dBDigital (AJ-D450): BNC x 1, AES/EBU Format with Optional AJ-YA655 XLR x 1 AES/EBU Formatwith Optional AJ-YA656 Digital (AJ-D850): XLR x 1 AES/EBU Format

Audio Output CH-1/2:Analog: XLR x 2, Lowimpedance, 4/0/-20 dBDigital (AJ-D440/D450):BNC x 1, AES/EBU Formatwith optional AJ-YA655 XLR x 1 AES/EBU Formatwith optional AJ-YA656Digital (AJ-D850): XLR x 1 AES/EBU Format

Monitor Out: AJ-D440/450 RCA x1, AJ-D850 XLR x1 (4/0/-20dB)

Headphone Out: VariableLevel Control, 8Ω

SDI Input:With optional AJ-YA750 SDI

Board for AJ-450/850

BNC x 2, ActiveThroughout, 75Ω(Video and Audio)

SMPTE259M-C, 272M

SDI Output: With optional AJ-YA750 SDI Board

BNC x 3, 75Ω, (Video and Audio)

SMPTE259M-C, 272M

OTHERSTime Code Input:

AJ-D450:BNC x 1, 0.5 to 8.0 Vp-pAJ-D850:XLR x 1, 0.5 to 8.0 Vp-p

Time Code Output:AJ-D440/D450:BNC x 1, 2.0 Vp-pAJ-D850:XLR x 1, 2.0 Vp-p

Remote VCR Control:AJ-D440/D450:Remote in: D-Sub 9-pin, RS-422A InterfaceAJ-D850:Remote in/Out:D-Sub 9-pin, RS-422A Interface

RS-232C:25-pin, RS-232C Interface

Encoder Remote:D-Sub 15-pin

Parallel: (AJ-D850 Only)D-Sub 25-pin

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DVCPRO 4x Transfer VCRThe AJ-D780 is a special-purpose DVCPRO Recorder/Player designedfor the rapid and cost-effective transfer of DVCPRO recordings intonon-linear editing, video server or archiving systems. The AJ-D780'sability to record and playback video data at 4x normal speed signifi-cantly shortens system input and preparation work - a big advantageover the digitizing of conventional non-linear editing systems.

The AJ-D780 achieves digital transfer at 4x speed via SDTI (Serial Data Transport Interface), a compressed serial digi-tal interface. Other features include RS-422 interface and VITC/LTC time code reader/generator. Also offers a compositemonitor video output at 1x speed for preview and audio monitor output.

Special heads designed and config-ured for 4x speed operation make itpossible to play back or record Video,Audio and Time Code data at 4x nor-mal speed. This means that a 123-minute DVCPRO tape can be playedback or recorded in only 30 minutes.

Built-in SDTI input/output terminalsmake it possible to transfer data at 4xnormal speed between several AJ-D780’s, or between an AJ-D780 andother SDTI-equipped servers or non-linear editors.

SDTI uses regular BNC cables androuters to transfer compressed data athigh speeds.

The advanced SDTI interface pre-serves full picture and sound qualityby eliminating the signal degradationthat is a by product of the compres-sion/decompression process.

SDTI includes an Error Correctionfunction that assures high reliabilityeven over distances of 200 meters.

Quasi-normal playback function letsyou monitor Video and audio signalsat normal 1x speed as a check whentransferring data. Provides compositevideo and XLR analog audio monitoroutput.

On-screen setup allows a number ofinitial settings to be quickly changed.The display offers a simple, straight-forward control panel and a host offunctions.

Compact (4RU) for easy installation.

DVCPRO Digital Cassette Tape

An ultra-flat base film gives DVCPROtape an ultra-smooth magnetic layer sur-face that eliminates micro-dropouts. Theresults is lower error rates and a higherchroma to noise ratio.

A tough cassette shell and sealed structureassure durability and prevent dust or otherparticles from entering. The cassette alsofeatures a reel-lock mechanism that pre-vents tape sagging and a slide-type erase-prevention mechanism to protect againstmishaps.

Binder uses a high polymer that helps pro-tect the magnetic layer and assure excellentdurability, even with repeated usage.

AJ-5P92L 3-Hour Tape:Designed to meet the long play demands ofEFP field acquisition on DVCPRO 50 andfeature film playback on DVCPRO, this tapeoffers 92 minutes of recording and playbackat DVCPRO50 resolution and 184 minutesat DVCPRO(25) resolution.

High-quality DVCPRO metal tapes aremore cost effective because they offer easyportability in the field and minimum stor-age requirements.

Panasonic DVCPRO tapesincorporate ultra-fine high-output metal magnetic parti-cles (MP) —half the size ofprevious metal particles butwith 70% more energy.

The high energy particles are mounted in an extremely dense pattern on tape with an ultra-thin 0.2 micron magnetic coating– the thinnest ever in a broadcast-use metal tape. The resultis a tape with the low-noise, high-frequency characteristics needed for digital recording.

Model No. R/P Time Length

L -Size AJ-5P92L 184 min. 377 mAJ-P126L 126 min. 259 mAJ-P94L 94 min. 194 mAJ-P66L 66 min. 137 mAJ-P34L 34 min. 72 mAJ-CL12L Cleaning Tape

M-Size AJ-P66M 66 min. 137 mAJ-P46M 46 min. 96 mAJ-P33M 33 min. 70 mAJ-P24M 24 min. 51 mAJ-P12M 12 min. 27 mAJ-CL12M Cleaning Tape

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Used Equipment Bought, Sold and Traded

DVCPRO High-Speed Non-Linear Editing SystemFeaturing a built-in 4x DVCPRO VCR for uploading and downloading at 4x normalspeed, the AJ-DE77 virtually eliminates picture quality degradation, dramatically short-ens editing time and requires less installation space than a conventional non-linear edit-ing system. Suitable for a variety of broadcasting and production applications, especiallytime-dependent news and sports programming.

Built-in DVCPRO VCR for uploadingand downloading footage, reduces costsand saves space by eliminating the need foran external VCR. The system also includesa built-in hard disk drive. Data from aDVCPRO tape can be uploaded to the AJ-DE77 as easily as as floppy disc.

Data is uploaded and downloaded betweenthe built-in VCR and hard disk at 4x nor-mal speed. This significantly shortenspreparation work — a big advantage overconventional non-linear editing systems.

Records data using the same compresseddigital signals as DVCPRO. The internal24 GB hard drive can store 72 minutes ofvideo and six hours of audio.

The AJ-ED77 uploads, edits and down-loads DVCPRO data in its original com-pressed form. Because there is no decompres-sion process, there is virtually no loss ofpicture or sound quality.

Equipped with multiple inputs and out-puts including analog composite and com-ponent video, XLR-balanced audio. HasOptions for SDI, SDTI and AES/EBUsignals is available.

The system has four audio channels, plusbuilt-in functions such as audio-split, V-fade and cross-fade editing. This makes itpossible to add narration or backgroundmusic to a DVCPRO source (2-channel)and preview it in real time.

The AJ-ED77 can be set to automaticallyupload, only scenes marked by the PictureLink Function. Found on higher end cam-corders like the AJ-D810, the Picture LinkFunction saves an icon picture, time codeand camera data for each recorded scene,and lets you mark each scene. The PictureLink data is then written onto the tape,and viewed when the tape is loaded intothe AJ-DE77. Upload only the scenes youwant for a tremendous time saving.

AJ-DR7000 DVCPRO ServerThe compact AJ-DR7000 provides up to 90GB (six hours of recording) harddisk storage of DVCPRO digital video and audio. SDTI input and output allowuploading and downloading of fully compressed DVCPRO data at 4X normalspeed. The AJ-DR7000’s fast, digital operation brings higher speed and picturequality to every step of the broadcasting process, from news production to on-airbroadcasting. Can also provide a commercial cache for automatic broadcasting,allowing applications such as, on-air time shifting and video-on-demand.

SDTI input/output make it possible totransfer data at 4x speed between severalAJ-DR7000’s, or between the AJ-DR7000 and the AJ-DE77 or AJ-D780.

Equipped with ten 18 GB hard drives,the AJ-DR7000 allows up to 12 ofrecording. An optional external RAIDcan also be connected for even moretime.

Equipped with four independent inputand output channels, and either of three(SDI, SDTI, analog composite) optionalinterface boards can be inserted for each.

Each channel is equipped with an RS-422port. Odetics and Louth protocols aresupported for on-air control, giving youthe same type of control found on VCRs.

RS-232 interface for PC control

6 RU high, 19-inch rack mountable

Optional Interface Boards

AJ-YAC7000 SDTI Board

AJ-YA7100 STI Board

AJ-YA7000 Analog Composite Board


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DVCPRO/DVCPRO50 Dockable VCRThe AJ-D90 is a dockable DVCPRO50 VCR that converts your camera into a 50Mbps/4:2:2 digital component recording system. DVCPRO50’s high recording rateof 50 Mbps allows recording of 4:2:2 digital component video signals at a low3.3:1 compression ratio. For added versatility, the AJ-D90 features switchabilitybetween a DVCPRO 4:1:1 signal and the DVCPRO50 4:2:2 signal. This meansyou can also record in the DVCPRO (25 Mbps) format for longer recording time.

Offers 4:2:2 signal processing, digitalvideo data rate of 50 Mbps, 3.3:1 DCT-based compression, and 16-bit 48 kHzsampled channels (four channels inDVCPRO50 and two channels inDVCPRO) of digital audio.

Play back pictures in monochrome on theviewfinder, or in full color on an externalTV monitor via the VIDEO OUT termi-nal, allowing a field team to check record-ed pictures on-site or send a microwavetransmission.

Two audio mic input terminals (XLR)allow recording of two channels of superbdigital sound. An analog cue signal canalso be recorded onto a linear track forediting convenience.

Offers easy setup with on-screen display.Many parameters can be set and checkedvia the viewfinder or an external monitor;also incorporates Digital hour meter.

One-touch Record Review facilitates play-back of the last segment recorded.

Built-in SMPTE Time Code generatorallows selection of Free Run/Record Runand DF/NDF, as well as User-Bits.

Comes with an Anton/Bauer Gold Mountplate installed.

Using DVCPRO medium size cassettes, youget a maximum record time of 60 minutesin DVCPRO, 30 minutes in DVCPRO50,thus allowing emphasis on higher picturequality or longer recording time.

Very compact and lightweight it weighs alittle over six pounds and draws less than15 watts of power.

Additional features include phantompower supply, built-in monitor speaker,stereo mini jack (x1) for audio monitor-ing, Time Code In/Out (BNC x2), a largeLCD multi-display, and external DCIn/Out connector.

Docks directly to the Panasonic WV-F565to form a superb camcorder. You can alsodock the AJ-D90 to Sony DXC-type cam-eras with the optional AJ-YA90SPP or toSony BVP-type cameras with the optionalAJ-YA90SBP, docking adapters.

The AW-F575 utilizes three high-sensitivity (HS) 1/2˝ 400,000pixel FIT CCDs to produce 850 lines of horizontal resolution, ahigh sensitivity of F8 at 2000 lux, a minimum illumination of0.5 lux, and less smear - while maintaining a wide dynamicrange (comparable to 2/3˝ CCDs).

“Night-Eye” mode switch automatically simulates +36 dB Gainby +30 dB boost, enabling a remarkably low minimum sceneillumination of 0.5 lux.

Incorporating advanced 10-bit digital processing, the AW-F575achieves a S/N ratio of 65 dB (with Digital Noise Reduction on)and 60 dB when the camera's gain setting is at +9 dB. Fiveadaptive scene files (two defined by the user, plus Wedding,Indoor Party and Outdoor modes) respond to various criticalshooting situations.

Includes an array of 58 digital processing adjustments that provide high reliability and stability and make the cameraextremely easy to operate.

AW-F575High Performance 1/2-inch 3 FIT-CCD DSPCamera– Ideal for Docking to the AJ-D90

The AW-F575 is a high-performance 1/2˝ HS-FIT 3-CCD camerathat is the perfect partner for the AJ-D90 DVCPRO50. Docked to the AJ-D90, the AW-F575 delivers uncompromised reliability and seamless system design for demanding acquisition and production applications.

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For the last ten years, the broadcast and production industry haveexploited the superb quality, ease of handling, consistency, systemsflexibility, and computer compatibility of digital media. More pow-erful and more flexible than its analog counterpart, digital videooffers a breathtaking range of options backed up by quality thatstays true through multiple generations. Seamless integration withcomputer editing and graphics tools, transparent picture qualityand superior precision make digital video a dream come true forvideo professionals. Introduced two years ago, Digital-S is the breakthrough formatthat delivers the digital power you need in the field and in theediting suite, at a price you can afford. Not just another digitalformat, Digital-S was developed after years of intensive researchand careful analysis of industry needs. Taken into consideration wasthe need for the highest quality video and audio that would also hold up through multiple generations, future compati-bility with disk-based non-linear editing systems, longer recording/playback times, compatibility with current systems,easy operation, and above all, affordability. Digital-S meets these requirements and more. It offers virtually infinite improvement of picture quality and multi-gener-ation performance. It provides very high quality, yet economical recording; and full integration into any system— digitalor analog. Advanced features such as Pre-Read place it light years ahead of all competing formats . It even provides S-VHS playback with the BR-D51, enabling you to work with current tape libraries. Combining high-quality digitalrecording with outstanding cost/performance, Digital-S can and will satisfy the needs and requirements of the mostdemanding video professional, as well as corporate, educational, industrial and broadcast users.

The Digital-S Infrastructure


1/2-inch Tape Format:Unlike the Panasonic and Sony 6mm DV-based formats, DIGITAL S uses l/2-inch tape. The use of 1/2-inch tape gives DIGITAL S several distinct advantages over the other (smaller) digital formats.

First, it enables the use of a more robust video processing system withless compression. 4:2:2 8-bit component processing, the preferred choiceamong industry professionals, assures the highest resolution, as well ascolor detail. The video data rate is maintained at 50 Mbps. Images aresuperior to any analog component VCR or 4:1:1 digital format.

Second, longer tape means longer recording time. All Digital-Srecorders, camcorders and players offer running times up to124 minutesper cassette. The BR-D92 even features a mode that lets it record up to150 minutes on a DS-124 cassette. Despite the long record times,Digital-S units never compromise quality—maintaining 4:2:2 sampling,3.3:1 compression and a 50 Megabit/second data rate throughout.

Third, it allows current S-VHS users forward compatibility with theirpresent investment. By incorporating the 1/2-inch design, the BR-D51is capable of accepting standard analog S-VHS recorded tapes, thusallowing use of existing tape libraries.

Last, using 1/2-inch tape ensures you don’t have to make the samecompromises that are made with the DV-based formats. For instance,Digital-S records 2 linear audio tracks (for cue purposes), as well as acontrol track. The data tracks are wider and longer, resulting in more“robustness’’ and allow more information to be recorded. It is lessprone to dropouts. Digital-S provides two and four independentlyeditable digital audio tracks (16 bit, 48k Hz). There is also room fortwo lines of uncompressed video (useful for closed captioning, etc.).

The tape itself is a high-density metal particle tape similar to thatused in the W-VHS HDTV system. Appearance and dimensions ofthe cassette are the same as those of VHS. However, the cassettehousing features a newly-developed dust-proof structure whichincreases the life of the tape, and a safety system that prevents loadingit into conventional VHS/S-VHS decks.

We Ship Worldwide

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Drum StructureUnlike a conventional drum structure (consisting of an upper rotaryand a lower stationary drum), the 62mm head drum of Digital-Semploys a tri-layer structure (upper stationary drum, middle rotary,and a lower stationary drum) to maintain S-VHS playback capability.

With the head drum size being compatible to S-VHS, this mode ofoperation delivers very low inertia for precise control when switchingfrom Digital-S to S-VHS rotation speeds.

Recording and playback heads on the middle drum make stable tapemovement possible even at 4500 rpm (2.5 times faster than VHS). Italso improves track linearity by providing a more precise tape posi-tioning relative to the drum. An electronic tape tension controlaround the drum has been established at a level that is optimized forboth the Digital-S mode and the S-VHS mode.

The three drum design also improves channel separation by splittingthe digital recording and playback rotary transformer between theupper and lower drums. This means that the record and playback sig-nal transmission lines from the heads are divided and passed throughboth the lower and upper portion of the drum to maintain sufficientisolation and enable preread editing.

The rotary drum itself is very narrow. This eliminates thicker air filmat the drum inlet, ensuring stable head-to-tape contact and optimizedtrack linearity. The inner drum is tapered in order to reduce tape dam-age, powder drop, wear, and burn at the drum area. The upper andlower sections of the drum, as well as the tape guide flanges located atthe drum entrance and exit, are made of an aluminum alloy materialwith high silicone content. This greatly reduces wear and minimizestape path change, thus maintaining tape pattern linearity for anextended period.

Long head service life is ensured, even with metal particle tape, by useof a tape cleaner to prevent particle accumulation that can cause headwear. In addition, the relationship between heads has been optimizedfor greater precision, and the shape of the edges on the rotating mid-dle drum are refined for less wear. Users routinely report getting morethan 5,000 hours of head drum life on Digital-S VCRs and some haveeven reported over 10,000 hours.


DIGITAL S Head Assembly

Tape TransportThe Digital-S tape transport is adapted from the proven 1/2-inchtape transport and mechanisms used in professional JVC VCRs.Tape speed is set at 57.8 mm/s, resulting in a maximum recordingtime of 104 minutes (124 minutes when used with a thin-typetape). Drum rotation speed is 4500 rpm.

For precise tracking and alignment, Digital-S has an auto-trackingservo system which utilizes tracking signals imbedded into the rotarytracks with newly-developed sapphire guide roller flanges and 7-mmdiameter guide poles. By using tape guides with sapphire, asopposed to ceramic or steel, they maintain perfect alignment of thetape path for far longer. And realizing how superior precious stonesare, Digital-S also employs a sapphire tape cleaner, which providesan edge that keeps tapes amazingly clean. As an extra precaution,there is an automatic head cleaner that wipes the heads whenever atape is loaded or ejected.

Recording SystemDigital-S employs the azimuth ±15°) recording system to suppresscrosstalk from adjacent tracks. Flying (rotary) erase heads are incor-porated to erase-and-record each segment and helical track, assuringreliable and frame accurate insert and assemble editing.

The modulation system uses S-INRZI/24-25 modulation with thePR4 detection method to efficiently capture large amounts of videoand audio data in the smallest amount of space. High recordingdensity is achieved utilizing a track width of 20um (microns)a 2-bit length of 0.587um, and recording clock frequency set at 49.5MHz.

The system uses a two-track, parallel recording system with a pair ofheads on each side of the drum and aligned exactly opposite eachother (180°). One frame of video is recorded on 10 tracks with thevideo area on either side of the audio area. Track-width is an extrawide 20 microns to ensure stability and reliability. The longitudinaltracks at the edges of the tape include two auxiliary (cue) Audiotracks and the control track (CTL) pulses. The two linear cue trackspermit audio to be heard while shuttling at high speed in eitherdirection. The Subcode area stores two selectable uncompressed linesof video, which are suitable for recording closed caption or otherinformation located in the vertical blanking area.

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Highest Possible Image QualityDigital-S uses sophisticated techniques, such as 4:2:2 component sampling and DCT-based Intra-Frame Encoding, toachieve and maintain the highest possible image quality. Plus, it pumps out horizontal resolution of 720 pixels or 540TV lines. Working together with wide-band component recording, these specifications enable Digital-S to reproduce thefinest color details and subtlest contrasts, while significantly minimizing artifacts.

4:2:2 Signal ProcessingDigital-S provides an image so outstanding that it is far superior toany existing analog component system, any 4:1:1 digital format,and it even rivals high priced, high-end digital component VCRs,like Digital Betacam. The outstanding picture quality of Digital-S isderived from 4:2:2, 8-bit component processing, the industry stan-dard for resolution and color. 4:2:2 adds a richness and warmthunobtainable with any lesser format and ensures the highest resolu-tion and finest color detail over multiple generations.

Digital-S applies 4:2:2 image sampling as specified in the ITU-RBT.601-4 Standard and records the resulting 4:2:2 component digi-tal video signals on video tape. Of the several color component sub-sampling methods, experts acknowledge that 4:2:2 image samplingis required to preserve the color component sharpness and resolutionnecessary for the best digital component picture quality, especially,when it comes to the rigors of multi-generation editing, chroma key-ing, special effects, matting and other color resolution dependentpost production processes.

The 4:2:2 method samples color components “Cr” and “Cb” atevery second luminance “Y”) sample on every horizontal scanningline, as specified by ITU-R BT.601. In comparison, 4:1:1 colorcomponent sub-sampling results in reduced color component resolu-tion half that of Digital-S.

4:2:2 sampling is required for high quality chroma keying and com-positing. It is also the preferred sampling when creating material thatis to be distributed on any digital television format including DVD,direct satellite and DTV broadcasts.

3.3:1 CompressionWith a myriad of compression systems on the near horizon, interfac-ing will become a significant issue. It is a fact that all compressionsystems generate artifacts that compound when signals are trans-ferred between systems. So it was critical for JVC to keep theamount of compression to a minimum. Bearing this in mind,Digital-S employs a sophisticated DCT (Discrete Cosine Transform)based algorithm that applies a very mild 3.3:1 compression ratio,resulting in a data recording rate of 50 Mbs. These specificationsallow Digital-S to sample and recreate the finest colored details of animage, with the fewest amount of artifacts and picture distortions.

DCT-based Intra-Frame compression was selected to achieve thebest compression efficiency, and because frame accurate editing,good error correction and concealment was desired. The data rate isset at 50 Mbps, which results in a 3.3 to 1 compression ratio. Thisresults in excellent picture quality for multi-generation dubbing, andfull two hour record/playback capacity .

Why Such High Quality?

There is a good reason to employ the highest quality acquisitionand recording system you can afford. Low cost consumer digital(DV) systems have “raised the bar” for professional producers.Yesterdays Betacam SP standard of quality—roughly equivalent totodays DV, DVCPRO and DVCAM formats—limit the type ofwork that you can do and how much you can charge. Newer digi-tal television systems (DVD, DTV, DBS) and file servers aredesigned to work best with artifact-free 4:2:2 signals.

High quality 4:2:2 systems have been around for years—D-1, D-5, Digital Betacam—but all too expensive for mainstream use.Even DVCPRO 50, offering 50 megabyte image quality similarto Digital-S, is expensive and has severe limitations with 1/4-inchtape. Only Digital-S offers high-end quality throughout its prod-uct line and makes high quality production available to everyone.

A joint SMPTE/EBU task force made extensive evaluations ofdifferent compression systems whey they tested DVCPRO,Betacam SX and DIGITAL S (D-9). The task force concludedthat only DIGITAL S could stand up to the quality of DigitalBetacam through the rigors of critical studio applications andthat DIGITAL S was “judged suitable for mainstream broadcastapplications”. In some tests, DIGITAL S even exceeded the per-formance of Digital Betacam. While 4:1:1 DV quality may beacceptable for some low complexity acquisition, the industrytrend is toward higher quality imagery and Digital-S meets thatrequirement most cost effectively.

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4:2:2 vs 4:1:1 Signal Processing

Digital-S does not eliminate color component samples from the4:2:2 ITU-R BT.601-4 component digital video source signal.Digital-S preserves all samples and color details through the entireinput/output and record/playback processes. Digital-S compressesthe 4:2:2 signals directly at a light 3.3 to 1 compression ratio,resulting in a 50 Mb/s (166 divided by 3.3) video/audio data ratefor recording on video tape.

The uncompressed 4:1:1 source data rate is approximately 124.5Mbps — reduced by discarding half of the color component sam-ples (and color detail and resolution in the picture). Once discard-ed, the color detail information can never be recovered or accu-rately reconstructed and reproduced. Almost 42 Mbs is eliminatedin the conversion from 4:2:2 to 4:1:1, even before compression isapplied to the signal.

4:2:2 Processing

Y Luminance: 720 x 482 x 30 x 8 = 83 Mb/s

CR Component: 360 x 482 x 30 x 8 = 41.5 Mb/s

CB Component: 360 x 482 x 30 x 8 = 41.5 Mb/s

4:2:2 Total Bit Rate =166 Mb/s (Mb/s =Megabits per second)

4:1:1 Processing

Y Luminance: 720 x 482 x 30 x 8 = 83 Mb/s

CR Component: 180 x 482 x 30 x 8 = 20.75 Mb/s

CB Component: 180 x 482 x 30 x 8 = 20.75 Mb/s

4:1:1 Total Bit Rate =124.5 Mb/s

The active picture in an NTSC (525 lines/60 fields) system is 720 pixels by 482 lines. An uncompressed 4:2:2 source data rate is approx-imately 166 Mb/s. The following equation shows how this data rate is determined:

Y or CR or CB: ? Pixels /Line x 482 lines /Frame x 30 Frames/Second x 8 bits/Pixel

Video Preread, never before available on a system in this pricerange, enables the recorder to play back a digital signal on a tape,while almost simultaneously recording a new signal in its place.The playback actually occurs a fraction of a second before therecording, so the signal being played can be processed or modifiedand then re-recorded.

Independent heads are provided for recording and playback, withplayback preceding the recording head by approximately fourframes – equivalent to the delay time caused by the signal process-ing. In a typical application, the playback head reads data from thetape, which is then decompressed. The resulting signal is fedthrough the analog or digital outputs of the recorder to a switcheror keyer, where it is modified with a special effect or graphic. Themodified signal is then routed back into the VCR, compressed, andthen recorded on exactly the same spot on the tape. The recordhead’s position on the drum is actually 1mm lower than the playhead to account for tape movement. Using video from the play-back head as a source in the editing system opens up many creativepossibilities. A simple two-machine editing system can performA/B Roll effects with the ease of a cuts-only system. A single BR-D85 (instead of the usual two) can create composite images, or add titles to aprogram. Graphics can be layered onto a video scene with multiple edits. And since the multi-generation video quality is so high, there is novisible loss, even when going down over a dozen layers. 4:2:2 resolution assures that keys and digital effects will be sharp and natural looking.There is no limit to the length of a Preread edit. It can be the entire length of the tape, if desired. Preread works with both analog and digitalinputs/outputs, allowing users with existing Betacam SP or S-VHS systems to add a single Digital-S preread recorder to achieve these stunningeffects with minimal investment.

Preread Video Editing (Available with the BR-D85 and BR-D92 Only )

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7-Day Customer Satisfaction Guarantee

1/2-inch 3-CCD Digital-S CamcorderThe DY-700 combines three 1/2˝ CCDs with the uncompromising quality ofDigital-S, to deliver broadcast-ready recordings of incredible fidelity. In addi-tion to superior resolution, it offers the exceptional sensitivity of JVC’s acclaimedLOLUX mode, advanced exposure and white balance control, Variable Scan,10x Picture Search, Heavy-Duty Transport mechanism and a host of opera-tional conveniences, making it ideal for both studio and field applications.

High Performance Three 1/2” CCDs deliver an outstanding

750 lines of horizontal resolution, whileJVC’s innovative micro-lens technologyensures efficient light conversion with asensitivity of F8 at 2000 lux and a superbS/N ratio of 62 dB.

LOLUX mode for shooting when there isalmost no light. Capture superb pictureswith excellent color balance at just 1.5 luxillumination. By combining electronicGain boost and unique dual pixel readouttechnology, LoLux mode is achieved withalmost no increase in noise.

Audio Records two independent, editable 16-bit,

48 kHz digital audio tracks and two linearcue tracks for monitoring (during search).

In addition to camera mounted mic, twoexternal mics can be connected via rearXLR connectors. Mic inputs also supply48v phantom power which can beswitched off when not in use.

Side-mounted speaker lets you monitoraudio in playback and recording modeswithout headphones. The speaker alsodelivers audible warnings.

In-Camera Editing Built-in switchable Automatic Editing

Function ensures smooth cuts with mini-mal distortion, while the Quick Reviewfunction lets you quickly and easily checkthe footage just shot. Also offers highspeed picture search of up to 10x normalspeed in forward and reverse.

Automatic Functions Losing a few seconds to set up can some-

times mean losing a shot. When QuickRecord mode is turned on, the camera isset to Auto Iris, even if the lens is set tomanual. The Automatic Level Control(ALC) with Extended Electronic Iris (EEI)is also activated, providing variable gainand variable shutter, allowing continuousshooting from dark indoors to bright out-doors without the need to change Gain,Iris or ND filter.

Full Time Auto White (FAW) circuit auto-matically tracks color temperatures. Thisallows continuous shooting from incandes-cent to fluorescent to outdoors withoutadjusting white balance or changing thefilter wheel.

In addition to ATW, an Auto Black circuitensures perfect black balance under chang-ing environments. No need to interruptshooting to rebalance.

Multi-Zone Iris Weighting system givespriority to objects at the central and lowerportions of the picture for accurate AutoIris exposures under any condition, even ifa bright subject moves into the picture.

SMPTE Time Code generator recordstime code in the subcode area. The gener-ator can be slaved to existing time code onthe tape, or to an external master TimeCode generator for multi-camera shooting.The camera also records time code datacorresponding to date and time

Additional Features Variable Scan function allows recording

of computer monitors without the normalflicker. Shutter speed increments can beset in 305 steps from 1/60.1 to 1/208.4 ofa second to precisely match the monitor’sscan rate.

Viewfinder displays essential information,including audio levels, accumulated orremaining recording time, VCR operation,battery voltage and tape remaining time.

Remote control connector (RS-232) allowsremote record start/stop operation viawired remote control. Using the RS-232interface you can also check the VCR sta-tus without interfering with camera opera-tion. When the request is sent diagnosticsare run to check for failures such as headclogging and error rate.

Menu system lets you switch or set mostbasic functions, while referring to thecounter or on-screen back-lit LCD display.And, because the menu system is hierar-chical, pressing one of the direct mainaccess buttons lets you go directly to themenu you want.

Available with two types of viewfinders: VF-P115– A 15-inch CRT with 500 lines ofhorizontal resolution.

VF-P116– Broadcast viewfinder, provides600 lines of horizontal resolution, externaladjustable peaking, 4 LED tally and a largereyepiece.

The DY-700 incorporates all the powerful features you’ve come toexpect from a high-end JVC camera—in a durable package built towithstand the pounding of service in the field.


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Optional Accessories for the DY-700






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Canon YH14X7.3K121/2-inch 14:1 Servo Zoom Lens

Canon YH18X6.7K121/2-inch 18:1 Servo Zoom Lens

Fujinon S14X7.5B121/2-inch 14:1 Servo Zoom Lens

Fujinon S19X6.5B121/2-inch 19:1 Servo Zoom Lens

HZ-FM13:Rear Focus Controls for Fujinon Lenses

HZ-FM15:Rear Focus Controls for Canon Lenses

HZ-ZS13B: Rear Zoom Servo Controlsfor Canon and Fujinon Lenses

VF-P115 1.5-inch Economical Viewfinder

VF-P116 1.5-inch High Performance Viewfinder

VF-P400 4-inch Studio Viewfinder

MV-P612 Stereo Microphone:Attaches to the DY-700 via 6-pin connectorand provides stereo input. (KA-A70 micholder is required).

KA-A70 Microphone Holder:Allows most barrel-type microphones to beused with the DY-700

CB-27:Shipping/Carrying Case for DY-700

NB-G1:2.2 Ah Nicad Battery for DY-700

AA-P250 Battery Charger/AC Adapter:Charges one NB-G1 battery at a time. Canalso power the DY-700 via AC. Includes 4-pin XLR 15’ DC cable.

AA-G10 AC Adapter/Multi-Charger: Charges up to 4 NB-G1 batteries sequen-tially. Can also power DY-700 via AC.Includes 4-pin XLR DC cable.


Image Pickup Device:Three 1/2˝ IT CCDs(380,000 pixels each)

Color Bars:SMPTE type

Optical Filter:3200K, 5600K, 5600K+ND

Sensitivity: f/8 @ 2000 Lux

Gain: 0, +9dB, +18dB, ALC, LoLux

Minimum Illumination:1.5 Lux with f/1.4

Horizontal Resolution:750 Lines (Luminance)

White Balance:2 Auto White Memories, 1 Preset and Full Time Auto

S/N Ratio: 62 dB

Variable Scan:60.1Hz to 208.4Hz

Audio:2-channel PCM, 48 kHz, 16-bit, each channel editable(Also has two cue tracks).

Audio Input: Camera: -20 dB, balancedLine: -60 dB/+4 dB balanced

Audio Output:Line: -6 dB, unbalancedHeadphone: Mini jack

Frequency Response:20Hz to 20kHz

Time Code:Input/Output: BNC

Power Consumption:40 watts

Weight:18.7 lbs. with Lens, Battery,Viewfinder

DC Input:12v DC (11 to 17v DC)


DY-700 Packages

14:1 Lens Package (#JVDY700UL14C)DY-700 with Canon YH14 X7.3K12U 14:1 Servo zoom lens, VF-P115 Viewfinder and quick-release tripod plate (no case)

14:1 Lens Package (# JVDY700UL14F)DY-700 with Fujinon S14X7.5B12 14:1 Servo zoom lens, VF-P115 Viewfinder and quick-release tripod plate (no case)

Camera Package (#JVDY700UVF5)DY-700 1/2˝ Digital-S Camcorder (No Lens), VF-P115 1.5˝ Viewfinder, Microphone, Tripod Plate

Camera Package (#JVDY700UVF6)DY-700 3CCD 1/2˝ Digital-S Camcorder (No Lens), VF-P116 1.5˝ High-Res Viewfinder, Mini Microphone, Tripod Plate,





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2/3-inch 3-CCD Digital-S CamcorderDesigned and engineered from the ground up, the DY-90 is an all-digital, unitized camcorder that offers superior performance and extremely good ergonomics. Unlike other camcorders that force you to accept either a bulky camera, inferior performanceor limited Record time, the DY-90 compromises on nothing.Equipped with three 2/3˝ IT CCDs, it delivers the equiva-lent of 850 lines of resolution, sensitivity of F11 at 2000 luxand a 62dB S/N ratio. It also incorporates Full AutoShooting Mode (FAS) with continuous Automatic WhiteBalance and JVC's exclusive LoLux mode —outstanding lowlight performance down to 0.75 lux.

The DY-90 incorporates powerful 14-bit DSP (Digital Signal Processing). 14-bit DSP enhances natural details, elimi-nates spot noise and gives exceptional reproduction of dark areas, highlights and highlight color. Additional featuresinclude two scene files for saving advanced custom camera settings in addition to the standard setup. Of course, clearrich audio is a must — and one of the most sought after features is 4-channels of audio. The DY-90 obliges by recordingfour independent and editable 16-bit, 48 kHz PCM audio channels. A shooter’s dream, camera operators on the go will appreciate the DY-90’s Automatic Editing Function (AEF) forsmooth cuts; 4x Picture Search in both directions; and color video playback for monitoring. Made of space-age materialsand construction, the DY-90 is the lightest, sturdiest and most maneuverable Digital-S camcorder ever. Weighing just15.4 pounds (7kg.) with lens, viewfinder, battery and tape, the DY-90 still employs a rugged, die-cast chassis, ceramictape guide rollers and sapphire flanges for a long life. It also sports a durable, reliable center rotating head design andhas low power consumption for longer battery life.

The DY-90 is a fully integrated cam-corder which captures, processes andrecords only digital signals for studio-quality acquisition. The result is sharplyimproved picture sharpness and imagequality.

Three high-density 2/3˝ IT CCDs pro-vide exceptionally high picture sharpnessof 850 lines of horizontal resolution.

JVC’s innovative Micro-Lenses, support-ed by a large light shield, reduce reflec-tions and light leakage for minimal ver-tical smear. Ensures highly efficient lightconversion with a sensitivity of F11 at2000 lux.

Applies JVC’s DSP with advanced 14-bitvideo processing to bring out naturaldetails, eliminate spot noise and accu-rately reproduce dark areas.

Delivers remarkably true reproduction ofthe entire 600% dynamic range of theCCDs to produce uncompressed finedetail in shadow areas, as well as full nat-ural color and detail in highlights. This isaccomplished in part because signals areprocessed at 14-bit resolution to giveessential DSP headroom, and by a multi-stream parallel digital pipeline, processingat 40 MHz, creating an ultra-smoothgamma curve calculated using a true logscale algorithm.

When activated, the Lolux mode increas-es sensitivity with almost no increase innoise. Lolux lets you capture high-qualityvideo footage with excellent color balanceat just 0.75 lux minimum illumination.

Multi-Zone Iris weighting system givespriority to objects at the central andlower portions of the picture for accurateAuto Iris exposure under any condition,even if a bright subject moves into thepicture.

Heavy-duty tape transport system anddie-cast magnesium chassis ensuredurable, rigid support for both mecha-nism and electronics.

Digital Signal Processing for Superior Image Quality


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Automatic Functions Full Auto Shooting (FAS) Mode provides

point-and-shoot ease of operation, lettingyou simply zoom, focus and press theRecord button. Activating the Full AutoShooting sets the camera to the Auto IrisMode, even if the lens is set to Manual.Automatic Video Level Control (ALC) isalso activated, along with ExtendedElectronic Iris (EEI) and Full AutoWhite, which provide both variable gainand variable shutter. Shoot continuouslyfrom a dark area to a bright area withoutchanging Gain, Iris or ND filter.

Accu-Focus activates the electronic shut-ter for approximately ten seconds, forc-ing open the Iris. A s a result, the depthof focus is minimized, and the lens canbe focused quickly and precisely.

Continuous Auto Black (CAB) circuitassures perfect Black Balance in a chang-ing environment without having to inter-rupt shooting.

Automatic Editing Function (AEF) letsyou make smooth cuts with minimal dis-tortion.

ALC (Automatic Level Control) with EEI(Extended Electronic Iris) allows continu-ous auto shooting in all light levels – noneed to switch gain settings or ND filter.

Smooth Transition mode ensures asmooth change with no jump in color orlight level when manually changing gainor white balance settings.

Audio The DY-90 has four independently

editable, high-quality, 16-bit, 48 kHzsampling digital audio channels, with adynamic range of more than 80 dB.

A side-mounted speaker lets you monitoraudio in playback and record modeswithout headphones.

Newly-designed, the optional KA-A90Uis an anti-vibration type microphoneholder that enhances ease of use andincreases flexibility, while reducing noise.

Phantom power can be supplied tooptional microphones via XLR connec-tors and switched off to each channelwhen not in use.

Genlock input enables a number of cam-eras to be synchronized together formulti-camera shooting.

Viewfinder status overlay displays selectedinformation through the viewfinder,including audio levels, accumulated orremaining recording time, VCR opera-tion, battery voltage and the selectedsetup parameters.

Detail Correction function lets youswitch the mixture of in-band and out-band correction to adjust the emphasisand produce a pleasing picture.

Black Stretch/Black Compress functionensures accurate reproduction of Blackareas on the screen.

CCD Defect Correction function evalu-ates white defects with the lens closed,then stores their addresses in memory.When the camera is turned on, the data issent to the DSP for storage and real-timecorrection.

Highlight Chroma Processing maintainscolor saturation in highlights. The resultis natural color reproduction, even inbright highlight portions of the picture.

Two SMPTE-standard time code genera-tors record independent time codestreams in the subcode area. The maintime code generator can be preset by youor slaved to either existing time code onthe tape, or to a master time code gener-ator for multi-camera shoots. .

The secondary time code automaticallyrecords data corresponding to date andtime of day. Digital-S editing VCRs accu-rately read both time codes at any speed.

A convenient Camera/VCR output selec-tor lets you switch between the imagecoming directly from the camera or fromthe VCR output.

Using the Setup Box, scene file data canbe transferred to other cameras to main-tain constant setup between cameras.

Ergonomically designed for maximumoperator comfort and utility. All switchesare logically located for precise, error-freeoperation. Also offers sharply reduceddrum noise for quiet operation.

Die-cast magnesium body offers the bene-fits of exceptionally low weight (9.7 lbs.without accessories), with improved rigid-ity and durability for professional use.

Additional Features

User Friendly Design

LCD display system let you switch or setfunctions, while referring to the counteror the on-screen display. Mode selectionand initialization are also available via themenu display. Back-lit display supportsshooting in dark areas.

Tape/Battery remaining indicator meansyou always know exactly how much tapeand battery power remains.

Variable Scan function allows flicker-freeshooting of computer monitors. Shutterspeeds can be set from 1/60.5 to 1/196.7of a second in 255 increments to preciselymatch the scan rate of the monitor.

Back tally lamp lights to let you knowthat the camera is entering the Recordmode. It flashes during the transition tothe record mode and when an error isdetected in the camera.


Coming soon to a theater near you, a wide screen version..the new DY-90W

Call for Details

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Optional Accessories for the DY-90







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Canon YJ18X9.5BK122/3-inch 18:1 Servo Zoom Lens

Fujinon A19X8.7B122/3-inch 19:1 Servo Zoom Lens

Fujinon A19X8.7BE12 2/3-inch 19:1Servo Zoom Lens with 2X Extender

HZ-FM13: Rear Manual Focus Control for Fujinon Lenses.

HZ-FM15: Rear Manual Focus Controlfor Canon Lenses.

HZ-ZS13B: Rear Zoom Servo Controlfor Canon and Fujinon lenses

VF-P115 1.5-inch Economical Viewfinder

VF-P116 1.5-inch High Performance Viewfinder

VF-P400 4-inch Studio Viewfinder

CB-27: Shipping/Carrying Case for DY-90

MV-P615 Monaural Microphone: Attaches to the DY-90 via XLR connector(KA-A90 mic holder is required).

MV-P616 Stereo Microphone: Attaches to the DY-90 via 6-pin connector(KA-A90 mic holder is required).

KA-A90 Microphone Holder: Allows most barrel-type microphones to beused with the DY-90

NB-G1: (2.2 Ah) rechargeable nicad battery for DY-90

AA-P250 Battery Charger/AC Adapter: Charges one NB-G1 battery at a time. Canalso power the DY-90 via AC. Includes 4-pin XLR 15’ DC cable.

AA-G10 AC Adapter/Multi-Charger: Charges up to 4 NB-G1 batteries sequen-tially. Can also power DY-90 via AC.Includes 4-pin XLR DC cable.





DY-90 Packages

18:1 Power Package (#JVDY90CK) Same as above PLUS— KA-A90 Microphone Holder MV-P615 Microphone (2) IDX NPL-46 Lithium-ion Batteries with LED IDX KL-4 Plus 4-Ch. Sequential Charger with AC Power Supply CB-27 Carrying Case

19:1 Power Package (#JVDY90FK) Same as above PLUS— KA-A90 Microphone Holder MV-P615 Microphone (2) IDX NPL-46 Lithium-ion Batteries with LED IDX KL-4 Plus 4-Ch. Sequential Charger with Power Supply CB-27 Carrying Case

18:1 Package (#JVDY90C)DY-90 Camcorder, VF-P116 1.5˝ High Performance Viewfinder, Canon YJ18X9BKRS 18:1 Lens, Mini-Microphone, Tripod Plate

19:1 Package (#JVDY90F)DY-90 Camcorder, VF-P116 1.5˝ High Performance Viewfinder, Fujinon A19X8.7BRM 19:1 Lens, Mini-Microphone, Tripod Plate,


Image Pickup Device:Three 2/3˝ IT CCDs(380,000 pixels each)

Color Bars: SMPTE type

Optical Filter:3200K, 5600K, 5600K+1/6 ND, Star Effect

Sensitivity: f/11 @ 2000 Lux

Gain: -3, 0, +6dB +9dB, +12dB+18dB, ALC, LoLux

Minimum Illumination:0.75 Lux with f/1.4 LoLux

Horizontal Resolution:Equivalent to 850 lines

White Balance:2 Auto White Memories, 1 Preset and Full Time Auto

S/N Ratio: 62dB

Variable Scan:60.5Hz to196.7Hz

Audio:4-channel PCM, 48kHz, 16-bit, each channel editable(Also has two cue tracks).

Audio Input: Camera: -20 dB, balancedLine: -60 dB/+4 dB balanced

Audio Output:Line: 0 dBs, Low impedance(XLR-5) balancedHeadphone: Mini jack

Frequency Response:20Hz to 20kHz

Time CodeInput/Output: BNC

Power Consumption:33 watts

Weight:15 lbs. with Lens, Batteryand Viewfinder

DC Input:12v DC (11 to 17v DC)


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Dockable DIGITAL-S RecorderFor literally the same price as an analog component recorder, the BRD-40 offerstotal support for all your acquisition requirements and gives you studio quality4:2:2 component digital with JVC and other 3-CCD professional cameras.Features include complete analog interface with input/output connectors, bal-anced audio input and built-in Time Code generator. It also offers 10x picturesearch, built-in monitor speaker, a comprehensive backlit LCD display with tapeand battery remaining indicator, and a self-diagnostic function.

Records two editable 16-bit, 48 kHzdigital audio tracks with two linear cue-tracks for monitoring during search.

Balanced-XLR audio input, switchablebetween camera, mic and line

Built-in phantom power supply, as wellas a DC output for supplying power to awireless microphone receiver

Monitor speaker for monitoring withoutheadphones. Audible warnings are alsoheard through the speaker.

Quick Review function to locate a specif-ic scene or check what you just shot.

Tape speed can be varied from still to±6x times normal speed in Play/Searchmode, and ± 20x in FF/REW mode.

AEF (Automatic Editing Function) forsmooth cuts with minimal distortion.

With a wired remote control you cancontrol Start/Stop recording from a dis-tance. An RS-232 cable can also be con-nected for maintenance and inspectionvia the RS-232 interface.

DIGITAL-S Dust-Proof Tape: High-resolution Digital-S signals are captured and preserved on a high density 1/2-inch tape featuring anadvanced metal-particle formulation based on W-VHS HDTV technology. Tape speed is 57.8mm/s with a maxi-mum recording time of 124 minutes. No other digital media offers the length of record/playback time with thedurability of Digital-S video cassettes.

DS-10 10 Minute Digital-S Tape

DS-34 34 Minute Digital-S Tape

DS-64 64 Minute Digital-S Tape

DS-104 104 Minute Digital-S Tape

DS-124 124 Minute Digital-S Tape

DCL-5A Digital-S Cleaning Tape

Optional Docking AdaptersThe BR-D40 docks directly to the JVC KY-19, KY-27 and KY-D29 cameras and candock to other brand professional cameras with an optional adapter.

SA-S45 Docking adapter for the BR-D40. Allows the BR-D40 to dock to the Sony DXC-537/637D30

SA-S40 Stand-alone Adapter for BR-D40With the SA-S40 attached, the dockable BR-D40 can now be used as a portable VCR formastering or backup applications. A versatile accessory, the SA-S40 attaches directly and issecured with the BR-D40’s conventional carrying handle.

26-pin and 14-pin connectors for ENGcameras (cable lengths up to100’)

Composite, S-Video, component input

Outputs composite, S-Video and audioCH-1/CH-2

Camera or manual triggering

Tally connector

Master/slave function allows use as backup VCR

Large, high contrast back-lit LCD displaystime code, user-bits and CTL, as well asaudio recording and playback levels, bat-tery condition, hour meter, operationmode, tape remaining, self-diagnostics andwarning codes. The BR-D40 can be set forDrop/Non-Drop frame, battery-type andbattery remaining alarm time settings.

Generates and reads SMPTE LTC andVITC Time Code, as well as User-Bits.Regen function is also included.Time/Date generator permits display ofreal-time shooting data, independent oftime code data. Two BNC connectors pro-vide time code input and output.


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BR-D350/51 • BR-D750/80/85






Editing Functions

Playback error checking with LED statusdisplay. Sophisticated error correction cir-cuits correct for errors caused bydropouts or miss-tracking . Using datafrom the previous frame, an error concealcircuit hides errors that the correctioncircuit cannot correct.

Auto Tracking with Manual Mode.

Auto Rewind at the end of a tape.

Automatic Repeat Playback when thetape ends. This procedure is repeatedcontinuously.

Variable-Speed PlaybackDigital-S plays back noise-free pictures inslow motion between ±1/3x normal withoutusing moving playback heads like analogVCRs. Variable-speed playback reads burstdata picked up by the scanner (upper headdrum) from the tape that is moving at searchspeed. Consequently, video signals from dif-ferent frames are combined to form single vis-ible frames during variable speed playback.For best quality, the entire image must berapidly renewed from a series of data. This isdone by dividing the picture into blocks andcompressing the data from each image unitblock as fixed-length data. The compressedlengths of data representing each image unitblock are combined sequentially, correspond-ing to the order that they were scanned from,to make up a single visible frame.

The compressed data length has to be shorterthan the burst length read from each track onthe tape, thus limiting search speeds. Thecompressed data length for each image blockis inversely proportional to search speed —the shorter the data length, the faster themaximum possible search speed. Conversely,compression efficiency is directly proportionalto compressed data length. As it becomesshorter, compression efficiency is reduced. Indigital VCRs the minimum decodable dataunit is called a Sync Block. In Digital-S com-pressed data length corresponding to the min-imum decodable data unit is kept as short aspossible, virtually the same as the Sync Block.Consequently, jog/shuttle search, functions ina manner similar to that of an analog VCR.Data rate for the entire image is set at a suffi-ciently high level to compensate for thereduced compression efficiency.

Playback Functions

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Intra-frame compression recordingmethod allows frame-by-frame recordingand editing - indispensable for animationrecording and frame accurate editing.

Two independently editable 16-bit 48 kHzaudio tracks (the BR-D52 and BR-D92offer four 16-bit tracks).

Two auxiliary audio (cue) tracks standard

Slow-motion playback is Field or Frameselectable via the menu

Manual audio recording level adjustment(exclusively for analog sources)

Remote control via RS-422 protocol

External sync input accepts standard ana-log sync signals for reference.

Capstan Bump function for frame syn-chronization

User-definable preroll lets you set the timefor the VCR to back up before the indi-cated edit point.

Linear control track offers a short lock-uptime – a stable picture is achieved quickly,eliminating long prerolls and saving pre-cious editing time.

Search functions via the jog/shuttle dial(except on the BR-D350/BR-D750) allowfootage to be viewed in color at speeds ofup to ±32x The Jog dial is also used forselection of menu setting items and datasetting in Time Code preset.

System, SC and video phase can be adjust-ed on the front panel, while video level,chroma phase, chroma level and setuplevel can be adjusted remotely via the 15-pin connector on the rear panel.

SMPTE LTC/VITC Time Code opera-tion with user-bits. Recorders include aREGEN mode which reads out the timecode recorded on the tape and allows youto begin a new recording with the timecode, continuing from where it left off(Jam Sync).

Counter Search lets you specify a tapeposition by zeroing out the counter, andletting you go to the specified location at alater time via FF or REW. VCR automati-cally stops at the specified location.

ORC (Optimized Record Current) autosetting analyzes the coercitivity of the tapeto be recorded and automatically sets para-meters for optimum recording levels.

Digital-S Editing Players and RecordersThe Digital-S line is designed to meet a variety of applications. Forpowerful editing capability, there is the BR-D85 with pre-read and thebasic BR-D80 Editing Recorder. For playback, the versatile BR-D51with S-VHS playback will extend the lifer of your library. When econo-my is the issue, the BR-D350 Feeder/Player and BR-D750 EditRecorder offer the very same exceptional 4:2:2 sampling and 50 Mbpsper second—but at prices that resemble S-VHS machines.

Powerful Playback, Recording and Editing Features

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Digital Audio

Digital-S records two or four inde-pendently editable channels of 16-bitDigital PCM with a sampling fre-quency of 48 kHz to ensure thehighest quality audio. Frequencyresponse is 20Hz-20 kHz anddynamic range over 85 dB. Digitalaudio data is not compressed beforerecording onto tape.

When editing, either channel can beedited without interfering with theother, and built-in SMPTE TimeCode ensures frame accuracy.

For finding cue points quickly dur-ing fast shuttle in either direction,there are two linear cue tracks thatallow the audio to be heard whileediting.

A manual audio recording leveladjustment is provided exclusivelyfor analog sources.

Headphone output with level controlpermits monitoring of the audio sig-nals.

Thanks to the RS-232 interface, you cancheck the VCR’s operating conditionwithout interfering with operation. Whenthe request command is sent via the RS-232C interface, diagnostic checks are runfor head clogging, error rate, etc.

On-Screen MenuTo permit easy access to a full array of professional functions, Digital-S VCRs use an On-Screen Menu system which stores data in the VCR’s non-volatile memory. Menu data is super-imposed on the video monitor output. This menu system allows you to set or switch mostbasic functions while referring to the counter or on-screen display. Mode selection and initial-ization are all possible via the menu display, and even functions normally requiring DIP switchresetting can be switched directly via the menu display.

Fifty items are selectable, including Color Frame, component out level, Noise Reduction,backspace, Time Code and TBC. Besides reducing the number of external switches, it alsolessens the chance of function settings being accidentally switched on or off. A full set of LEDindicators on the front panel assure you that the desired functions are engaged. On-Screen modecheck and warning indications are also provided. And, since the menu system is hierarchical,pressing one of the Direct Menu Access buttons allows you to go straight to the desired menu.

Self-Diagnostic Function via RS-232 Interface

BR-D350/51 • BR-D750/80/85

RM-G820 Variable Motion Editing ControllerJVC brings sophisticated features and high performance to tape based editing systems with the easy-to-use RM-G820 Edit Controller. The RM-G820 wasdeveloped with the same concept of the familiar cuts-only controllers thathave been around for years. But unlike other products, the RM-G820adds powerful high-end capabilities such as variable motion controland pre-read. It is the ideal controller for the BR-D85 and BR-D92 aswell as all Digital-S machines.

Preview and Review functions

When editing with pre-read equippedVCRs like the BR-D85 and BR-D92 ,the RM-G820 lets you perform A/B styleediting with only one source playerinstead of two. When initiating a pre-read edit, the controller sends a com-mand that allows the VCR to play back asignal while simultaneously recording anew signal in its place. With this tech-nique, you can add layer upon layer cre-ating dazzling special effects.

Two jog/search dials with separate LEDcounter displays

The RM-G820 also allows you to doVariable Motion Control (VMC) editingwith 7-event motion memory when usedwith Digital-S VCRs. 98-Event Memorywith renumber and ripple functions letsyou store all data for each edit, allowing acomprehensive list to be compiled andthen performed automatically. Optionalkey pad makes edit data input even easier.

Two 8-digit time counters

Edit point trim and cancel

Audio monitor level adjustment

Comprehensive on-screen setup menu

Offers the accuracy and precision ofSMPTE VITC and LTC time-code refer-enced editing.

4 separate GPI ports allow you to con-nect a variety of external devices such asswitchers, SEGs, audio mixers and CGs.

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Top-of-the-Line Digital-S Player, Edit RecorderMeeting the demands of broadcasters and production facilities, the BR-D92Recorder and BR-D52 Player offer features and performance previously found ononly the most expensive VCRs. They both have four independently editable audiochannels, while the BR-D92 offers front panel editing control capability andvideo preread capability. With these features, it all adds up to affordable, ultrahigh-end performance that makes these Digital-S VCRs the perfect solution forthe media demands of the 21st Century.

4-Channel Audio With the BR-D92 and BR-D52, you can now access allfour audio channels and enjoy much greater productionflexibility. Embedded in the Serial Digital Interface(SDI), each channel can be controlled independentlywith separate recording (BR-D92 only) and playback. Inkeeping with JVC's commitment to backward compati-bility, tapes made on 2-channel Digital-S VCRs can beplayed on the BR-D52/BR-D92. Earlier recordings canalso be enhanced simply by inserting additional channelsof audio. Furthermore, tapes recorded on the BR-D92can be played back on 2-channel (less CH 3/4) machinesso you can mix the BR-D92 with other Digital-S mod-els, while retaining full quality throughout.

Additional Features

BR-D92 OnlyTiltable Front Panel Editing control forRecorder and Player (Swap Editing). Frontpanel editing makes creative control easy.Even with no editing controller connectedto the system, you can still accomplishhigh-performance editing - thanks to theBR-D92's front panel editing control capa-bility. Player/Recorder Select buttons areprovided, and Time Code from the sourceVCR can be displayed on the BR-D92'scounter display.

Four independently editable 16 bit, 48 kHz PCM audio channels

Rate converter for 44.1 kHz and 32 kHz

Audio V-Fade Function

Built-in pre-read for layering and 2-machineA/B Roll

Wide pre-read window tolerance range of5H

Optional SDI (Serial Digital Video)input and output with 4-channelembedded audio

Digital audio slow (±1/3) speed capability(not just video)

Adjustable audio playback levels (not justrecord levels)

Audible PCM sound in slow motion forprecise editing

Balanced audio monitor output

LTC Time Code with XLR-balanced I/O(BNC on other Digital-S decks)

Front panel proc-amps for control of SCand video phases, video level, chromaphase, chroma level, and pedestal level

Remote TBC adjustment via 15-pin con-nector (unlike other Digital-S machinesthey use the Sony protocol, so they arecompatible with remote TBC controllerslike the the BVR-50).

Optional SDI video output with 4-chan-nel embedded audio

Optional SDI (Serial Digital Interface) Boards for Digital-S VCRs

SA-D50 SDI Output Board for the BR-D51 and BR-D350

SA-D80 SDI Input/Output Board for the BR-D750, BR-D80 and BR-D85

SA-D52 SDI Output Board for the BR-D52

SA-D92 SDI I/O Board for the BR-D92

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DIGITAL-S Specifications and Features at a Glance




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Record/Play Time Up to 124 minutes with DS-124 tape

Video Sampling/ Compression/Data Rate 4:2:2 Video Sampling 3.3:1 Compression 50 Mbps Data Rate

Audio Sampling/Cue Tracks 16 bit/48kHz 2 Cue Tracks

Audio Tracks 4 2 2 2 4 2-D9/4-SVHS 2

Pre-Read Editing Yes Yes — — — — —

Rate Converter (44.1 & 32kHz) Yes — — — — — —

Adjustable Audio PB Level Yes — — — Yes — —

Jog/Shuttle Yes Yes Yes — Yes Yes —

Slow Motion (Video) ± 1/3 ± 1/3 ± 1/3 ± 1/3 ± 1/3 ± 1/3 ±1/3

Slow Motion (Audio) ± 1/3 — — — ± 1/3 — —

Built in TBC/Frame Sync Yes Yes Yes Yes Yes Yes Yes

TBC Control Function Yes w/Remote w/Remote w/Remote Yes w/Remote w/Remote

Repeat Playback From the beginning to the end of a tape (also Auto Rewind at the end of tape)

Counter Search Yes Yes Yes Yes Yes Yes Yes

Front Panel Editing Control Yes Yes Yes Yes Yes Yes Yes

Tiltable Front Control Panel Yes Yes Yes Yes Yes Yes Yes


Pre-Roll Function With User-Designated Time Setting

Capstan Bump Function for Frame Synchronization Yes Yes Yes Yes Yes Yes Yes

Headphone Output with Level Control Yes Yes Yes Yes Yes Yes Yes

Auto Tracking with Manual Mode Yes Yes Yes Yes Yes Yes Yes


Analog Outputs:

External Sync (Loop Thru) x1 (BNC) x1 (BNC) x1 (BNC) x1 (BNC) x1 (BNC) x1 (BNC) x1 (BNC)

Composite Video x2 (BNC) x2 (BNC) x2 (BNC) x2 (BNC) x2 (BNC) x2 (BNC) x2 (BNC)

Component Video BNC x3 BNC x3 BNC x3 BNC x3 BNC x3 BNC x3 BNC x3

Y/C — 4-Pin 4-Pin 4-Pin — 4-Pin 4-Pin

RS-232 Diagnostic Port 9-Pin 9-Pin 9-Pin 9-Pin 9-Pin 9-Pin 9-Pin

Digital Audio I/O AES EBU with optional SDI

SDI Yes Optional Optional Optional Yes Optional Optional

BR-D92 BR-D85 BR-D80 BR-D750 BR-D52 BR-D51 BR-D350Digital-S Player Player Player Recorder Recorder Recorder Recorder


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Betacam SX—MPEG-2-based Digital FormatIn the 1980’s, Sony gave the world Betacamand then Betacam SP—workhorse formatsthat introduced such radical improvementsin picture quality that they were quicklyadopted throughout the world. For over adecade the BVW range set the standard forreliability and performance in the demand-ing worlds of ENG and EFP.Then in the late 1990’s, digital technologybrought revolutionary changes to the broad-cast industry — changes that were accompa-nied by benefits and advantages that couldbe applied throughout the entire broadcastoperations. To realize these dramatic benefits,Sony developed the Betacam SX system: atotal solution for optimized digital acquisi-tion and production. The Betacam SX for-mat achieves superior picture quality, fasterediting, increased system flexibility, andgreater productivity in every aspect of newsgathering and production. Betacam SX combines several advantages: an advanced compression algorithm, dramatic reductions in equipmentsize and operating costs, the speed and creativity of non-linear disk-based editing, and the power of a total digitalnetwork. Betacam SX complies with MPEG2 4:2:2 Profile at Main Level (MPEG2 4:2:2P@ML) to maintainbroadcast-quality from camera through post production. Using a robust compression algorithm that achieves higherpicture quality at a reduced bit-rate, Betacam SX delivers superior digital acquisition, high- speed transmission fromthe field, high-speed material upload to server, cost-effective archival storage, and server-based playout. Betacam SX brings the full benefit of digital technology to news broadcasting operations, while maintaining thefunctionality and cost efficiency that its predecessors were famous for. It draws on Sony’s long experience in serving thereal-world needs of the broadcast industry and combines the proven performance of analog Betacam SP with the digitaltechnology leadership of the D-1, D-2, and Digital Betacam formats.

The Betacam SX lineup answers all the needs of both field and studio newsroom operations. Its versatile interfacesand analog compatibility with Betacam SP makes it easy to integrate into into current analog installations.Upgrading can be accomplished step by step, at a pace that suits your organizations needs and budget. With theBetacam SX approach, new equipment can be added as required without compromising overall system functionali-ty. And when your migration to digital is complete, Betacam SX will deliver the full benefit of digital technologyat its most advanced.

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Broadcast Quality with MPEG2 4:2:2P@MLBetacam SX records 8-bit, 4:2:2 component digital signals using anadvanced compression algorithm. Recordings maintain high-qualitypictures without visible artifacts, while keeping the bit-rate low. TheBetacam SX format also preserves 507 active lines per frame includingvertical blanking signal information, and supports 4-channel, 16-bit/48kHz digital audio. Betacam SX yields superior picture quality, with excellent luminance detail and improved color resolu-tion. The 4:2:2 sampling structure maintains the chrominance infor-mation necessary for editing and special effects — and stands up tothe post production needs of news program production.

Efficient Bit Rate ReductionThe robust compression algorithm of Betacam SX results in a reducedbit rate of 18 Mbps for the video signal, achieving greater efficiencyfor transmission and storage while maintaining high-picture quality.Reducing the bit rate enables non-linear editing systems to handlereal-time video and audio signals at lower cost. It allows either high-speed transmission or simultaneous 2-channel transmission of differ-ent video source signals within a limited bandwidth. The reduced bitrate also yields overall cost saving in storage requirements and trans-mission time, making more effective use of the hardware capacity andchannel bandwidth of a disk and server-based studio network system.

Compatibility with Analog Betacam SPBetacam SX is designed to maintain compatibility with current analogsystems. This analog compatibility provides a logical, cost-efficientmigration path towards a totally digital environment.

The 1/2-inch tape size used by Betacam SX is the same size 1/2 cas-sette as current Betacam SP equipment, giving Betacam SX playbackcapability of analog recordings made on oxide or metal particle tape.Using advanced Hybrid Recorders that combine video tape transportand hard disk drive, existing analog Betacam SP archive material canbe accessed and digitized for non-linear editing.

Current BCT-MA Betacam SP metal particle tape cassettes can beused for Betacam SX recording, assuring wide availability of recordingmedia. For superior digital performance at reduced cost, metal particletape has also been developed specifically for Betacam SX recording.

Betacam SX products provide both analog and digital interfaces,allowing these new digital products to coexist with all the existinganalog systems in the studio and in the field.

Robust Tape FormatThe robust tape format of Betacam SX records 8-bit, 4:2:2 compo-nent digital video signals and supports four channels of 16-bit/48 kHzdigital audio. Its powerful ECC (Error Correction Code) automatical-ly corrects off-tape data errors caused by burst errors during recordingand playback. This ensures virtually dropout-free recording of impor-tant news program material.

Cost EfficientBetacam SX delivers all the benefits of high-quality digital perfor-mance, and also achieves significant long-term saving in both mediaand hardware as well as reduced operating expenses.

Advanced signal compression technology brings the advantage of longtape recording times: up to 62 minutes on a single S-cassette, and upto 194 minutes on a single L-cassette.

“Multiple head tracking” technology ensures reliable playback by per-forming powerful error correction on adjacent tracks. This enablesBetacam SX to handle a high bit-rate signal within narrow tracks,allowing the development of low-cost, high-quality Betacam SX tape.

Compared to conventional Betacam SP tapes, tape consumption canactually be reduced by one-half —which means that ENG acquisitionand studio archival tape costs can be greatly reduced, while superiorpicture quality is maintained.

Betacam SX equipment also incorporates an Automatic AlignmentSystem that maximizes accurate tape recording and reproduction ofdigital data. An Automatic RF Equalizer optimizes the gain and phaseof off-tape RF signals. These automatic systems minimize the need fortime-consuming manual equalization and servo system

Another significant economy results from the reduced bit-rate of theBetacam SX format: the ability to develop new hardware designs thatreduce cost by combining multiple functions. A dramatic example ofthis design efficiency are the unique Sony Hybrid Recorders, whichcombines VCR and hard disk drive in a single integrated unit.

Betacam SX: The Key to the Digital Newsroom

Betacam SX format is the key to the Sony approach to the digitalnewsroom— bringing the multiple advantages of high-quality picturesand sound, high-speed transmission, and low-cost operation. The compression has been carefully designed to maintain high picturequality during every phase of broadcast news operations. Employedthroughout the Betacam SX range, MPEG2 4:2:2P@ML compressionis also used by the digital, disk-based A/V Servers in the Sony system.This means that, throughout the newsroom system, no encoding anddecoding is needed, so picture quality is not compromised.

The Right Media in the Right ApplicationSony expertise in every aspect of video technology has led to a carefulevaluation of the running costs, recording times, mobility factors, andindustry-wide compatibility of both tape and disk media. Sonyemploys tape media for applications requiring low running costs,longer recording time, and higher mobility — and uses disk mediawhen high-speed random access and non-linear operations arerequired. Best of all, both tape and disk utilize the same samplingstructure and compression algorithm, allowing both to work togetherseamlessly and efficiently in a powerful hybrid storage system — that is the beauty of the Sony Betacam SX System.

Betacam SX machines come with a three year warranty on parts—including the heads!

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Betacam SX CamcordersThe DNW-7 and DNW-9WS provide the advantage of a fully digital acquisition

tool with compact one-piece design. They combine operating simplicity, ruggeddesign, and compact, lightweight portability. Smaller than analog 1/2-inchmodels, they incorporate operational conveniences like color video playback, a

slot for an optional wireless receiver and an internal light system. Arange of camera adaptors can also be connected.

They also incorporate another important feature: the ability to recordGood Shot and REC Start Marks. Identifying these recorded segmentson Sony’s non-linear editors saves both time and valuable storagecapacity by transferring only selected scenes.

The DNW-7 is equipped with 2/3-inch 400,000 pixel Power HAD IT CCDs. It employs 10-bit/28 MHz full digitalsignal processing in the camera section, and component digital recording in the VCR section to bring cost-effective fullydigital operation to day to day ENG and EFP shooting. The DNW-9WS is the same plus it adds switchable 4:3 and16:9 aspect ratio.

Camera Section Superb specifications include sensitivity of F9

at 2000 lux (F8 on the DNW-9WS), S/Nratio of 63dB and low-light capability.Minimum illumination for both is 1 lux.

The DNW-7 is equipped with a 1.5-inchviewfinder, the DNW-9WS includes the 2-inch wide BVF-V20W viewfinder for easyfocusing, even in 16:9 widescreen mode. Anoptional color viewfinder is also available, the1.35-inch BVF-VC10W.

They have Auto Tracing White Balance(ATW) capability. This enables automaticadjustment of white balance according to theoverall scene lighting conditions. When light-ing conditions change quickly— movingfrom indoors to outdoors—white balance israpidly readjusted with ATW.

Turbo Gain function quickly raises the gainlevel to +42dB at the touch of a button—allowing immediate adjustment in extremelylow light shooting conditions. Turbo Gaincombines Dual Pixel Readout (DPR) technol-ogy with conventional electronic gain-up tomaintain a high S/N ratio.

To capture clear images of fast-moving sub-jects, they have a high speed shutter up to1/2000 of a second.

Tru-Eye Process In conventional RGB digital processing

cameras, some non-linear signal processingoccurs after gamma correction, such asWhite Clip and Knee Correction. This canresult in hue factor distortion, a phenome-non particularly obvious in extreme highlight conditions. A breakthrough innova-tion TruEye process totally eliminates thisproblem..TruEye manages video dataaccording to three factors — brightness,hue and saturation. Thereby, color in lowand high light situations is as faithfullyreproduced as by the human eye, withouthue factor distortion.

DynaLatitude Based on TruEye, DynaLatitude adaptively

manages the contrast of each pixel accordingto analysis of the video signal level distrib-ution. This brings a new dimension toDynamic Contrast Control (DCC) whichcontrols the dynamic range of video sig-nals. DynaLatitude optimizes video leveldistribution based on signal histograms tomake the most of the limited dynamicrange of the video signal. Even in difficultlighting situations picture quality will begreatly improved.

Comprehensive Menu Setup parameters are organized in a

two-layer menu system (User andEngineer). User Menus only allowaccess to the standard setup functionsneeded by operators. Engineer Menusallow access to all camcorder setupfunctions. Menu pages are visible inthe viewfinder and can also be dis-played on an external monitor. Thesetup control is easily operated usingthe rotary switch on the camcorders.

Setup Cards Setup parameters can also be stored on

removable Setup cards. These cardsallow operators to quickly, easily andaccurately set up camcorders in thefield.

Several different camcorder settingscan be stored on Setup Cards preparedin the studio. Setup Cards also aid inmatching the setup of multiple cam-corders, when shooting in severalremote locations, or when time passesbetween shooting assignments on asingle story or production.

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Audio The audio level of the front microphone

can be adjusted by using the rotaryswitch located under the lens converterof the camcorder. Positioning the rotaryswitch in this location helps prevent theoperator’s hand from accidentally touch-ing the lens or entering the frame.

Built-in noise barrier prevents sensitivemicrophones from picking up noise gen-erated by the high-speed rotating drum

Four channels of audio can be assignedaccording to need. When Parallel mode isselected, the same signals are recorded byCH- 1/CH-3 and CH-2/CH-4. In Separate mode, CH-3 automaticallyrecords the front microphone and CH-4the wireless mic. This function ensuresthe mic won’t accidentally miss the audiorecording; even when the external micro-phone isn’t connected, audio from thefront microphone and the output of thewireless microphone will still be capturedon audio channels 3 and 4.

The WRR-855A UHF Wireless MicReceiver fits directly into the camcordersusing their slot-in mechanism. This givesyou a cableless interface between thecamcorder and the receiver.

5-pin XLR connector carries two audiooutput channels. Either CH-1/2 or CH-3/4 can be selected through the menu.

Playback Functions They provide full color playback (and

playback of two audio channels) in thefield without an adaptor making it easyto verify recordings and to send them tothe studio via microwave transmission.Recordings can also be reviewed via theviewfinder while audio is monitored viathe earphone or built-in speaker.

Recordings can be quickly checked bypressing the Return button while in theREC Pause mode. Tape automaticallyrewinds for about two seconds, the endof the last scene will be played back, andthe tape will stop precisely at its previousposition. Holding the Return buttonlonger extends rewind time up to 10 sec-onds.


Remote control of basic functions andadjustments can be accomplished by con-necting the RM-P9 remote control.

To prevent damage to the cassette com-partment mechanism, the redesigned cas-sette compartment doesn’t pop up duringcassette loading and ejection. Cassettesare loaded vertically through a narrowentry that helps to keep out dust parti-cles. The window on the cassette caseallows the operator to see how much taperemains for recording.

SX camcorders are carefully designed forsimple operation. Switches are located insimilar positions as on Betacam SP cam-corders, so those used to analog equip-ment will find them easy to use.

Comprehensive LCD display providesinformation on VCR operating status.Time Code, CTL and user-bit data. Taperemaining and battery capacity are dis-played via a bargraph meter. A digitalaudio peak meter allows precise adjust-ment of audio recording level.

Shot Data and Shot Markers They allow automatic and manual recording for shooting data on tape. Data such as Date,Time, Shot ID, Cassette Number, and Shot Number can all be recorded during the shootingprocess. Shot Data can be used to retrieve material during editing.

Betacam SX camcorders provide an innovative function to speed the editing process: the abil-ity to identify good takes while shooting in the field. A REC Start Marker is automaticallyplaced on the the tape each time the VCR Start button is pressed while the VCR is in stand-by mode. A Good Shot Marker can be added at any time by pressing the Return buttonwhile in record mode. When tapes are played back using the DNW-series Hybrid Recorders,these markers will appear highlighted as thumbnails on the GUI of Sony’s non-linear editors.This eliminates tedious searching through recorded material, and saves hard disk space bydownloading only the scenes you select. Thumbnails recorded by SX camcorders can be usedeffectively throughout the broadcast newsroom operation, from acquisition to archiving.


Optional Camera AdaptersCA-702 External Input and Analog Component/SDI Output CapabilityWith the optional CA-702 Camera Adapter attached via the 40-pin connector, the DNW-7or 9WS can record an external analog composite or SDI input signal. The CA-702 also hasa 26-pin output connector to feed an analog component signal (to a BVW-50), and a BNCoutput to feed an SDI signal (to a DVW-250) to an external VCR.

CA-701 4-Channel Audio Input and SDI Output CapabilityThe optional CA-701 Camera Adapter (also attaches via the 40-pin connector) enablessimultaneous 4-channel audio recording by providing access to audio channels 3 and 4. Inaddition, two SDI outputs are provided, allowing direct connection to other digital equip-ment via a single coax cable.

CA-755 Studio Camera Integration with a Triax System Integrate the DNW-7 or DNW-9WS into a studio setup using a Triax system. The optionalCA-755 Camera Adapter attaches directly to the camcorders via their 40-pin connector giv-ing you precise control of camera setup parameters (Gamma, Detail, Iris, etc.) from theCCU-550 Camera Control Unit.

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Power and Lighting They use lithium-ion batteries for long

run times. With higher capacity in asmaller, lighter size, a fully charged BP-L60 battery provides 2-hours of opera-tion, the BP-L90 over three hours.Batteries attach directly using the V-shoeattachment, which facilitates quick, easybattery changes. (NP-1B batteries canalso be used with the optional DC-L1).

Optional AC-DN1 AC adapter can alsobe used to slow charge the lithium-ionbatteries in an emergency.

Directly attach an optional Anton BauerUltralight 2 to the camcorders via theirvideo light connector. Powered from thecamcorder battery, light On/Off can becontrolled manually or can be synchro-nized automatically with their REC startfunction.

Additional Features They incorporate a sophisticated diagnos-

tic system to detect malfunctions withinthe camcorder. Digital signal processingimproves the ability to specify the preciselocation and nature of a fault: camerafaults are indicated by warning lights inthe viewfinder, and VCR faults are indi-cated on the camcorder LCD display.

Shot ID (set by menu) can be superim-posed on color bars for confirmation ofwhich camcorder was used for an individ-ual recording.

Test output port provides compositevideo, red, green or blue signals for cam-era testing.

A built-in time code regenerator providescontinuous time code recording in theREGEN mode so time code editing canbegin immediately after shooting.

Multiple tally functions include front,back, and on the viewfinder at the side ofthe eyepad so an operator can see thatthe tally is on, even when looking intothe viewfinder from a distance.

Genlock capability allows them to inte-grated into multi-camera systems.Camera Return video can also beaccessed through the same connector.

Conventional BCT and UVWT Betacam SP metal particle tape can be used in Betacam SXcamcorders, so tape is always readily available—and with Betacam SX, recording time is dou-ble the stated length. To achieve even higher performance and cost-efficiency, original BetacamSX tape should be used.

Optional Accessories for the DNW-7/DNW-9WS• BSC-1 Pack Package of 4 Setup Cards and a soft case

• BP-L60A/BP-90LA Rechargeable Lithium-ion batteries

• DC-L1 Battery case for NP-1B batteries

• BC-L100 Two-position charger for lithium-ion batteries


• AC-DN1 AC Adapter

• AC-550 AC Adapter

• VA-DN1 Interface Box

• PM-P9 Remote Control Unit

• CCU-550 Camera Control Unit

• BVF-VC10W 1.35-inch 16:9 Color viewfinder

• BVF-55 5-inch Studio Viewfinder

• BKW-401 Viewfinder Rotation Bracket

• LD-DN7 Shipping Case


DNW-7: 2/3˝ ITPowerHAD CCD (x3)

DNW-9WS: 2/3˝PowerHAD 16:9Widescreen IT CCD (x3)

Built-in Filters:1:Clear 2:5600K +1/48ND 3:5600K 4:5600K +1/16ND

Minimum Illumination:1 Lux with f/1.4,

Sensitivity:F11 at 2000 Lux

Shutter Speeds:1/100 to 1/2000 sec.

Clear Scan Selection:60.1 to 7000Hz (260 steps)

S/N Ratio: 63 dB

AUDIO Frequency Response:

48kHz: 20Hz to 20kHz

Dynamic Range:More than 80 dB

I/O CONNECTORSSignal Inputs:

Genlock: BNC Time Code Input: BNCExternal Audio: CH-1/2:XLR 3-pin Female (x2),-60dB/+4dB selectableMic Input: XLR 3-Pin

Signal Outputs:Composite: BNC (x1)Test Video: BNC (x1)Time Code: BNC (x1) Audio: XLR 5-pin male(stereo)Earphone: mini-jack

OTHERDC Input: XLR 4-pin DC Output: 4-pin (for wireless mic receiver)Light Out: 2-pinLens: 12-pin Remote: 6-pin

GENERALPower Requirements:

DC 12v (11-17v)

Power Consumption:32 watts (record mode)

Record/Play Time:60min. w/BCT-60SX

FF/Rewind Time:5 min. w/BCT-60SX

Weight:13 lbs 9oz. complete

Tape Length Betacam SP Betacam SXModels m (feet) Playing Time (min) Playing Time (min)BCT-5MA 42 (138) 6 12BCT-10MA 78 (256) 11 22BCT-20MA 150 (492) 21 42BCT-30MA 222 (728) 31 62UVWT-10MA 78 (256) 11 22

Tape Time List

Most Orders Shipped Within 24 Hours

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Plays back analog Betacam and BetacamSP tapes—oxide or metal particle.

Front panel matrix for switching thechannel of audio monitoring. Each of thefour playback channels can be switchedto either the left or right monitors out-puts.

Can be switched from NTSC 525/60 toPAL 625/50 mode to playback SX tapesrecorded overseas.

Equipped with two analog compositeoutputs including one monitor outputwith character superimposition.

High-speed picture search in shuttlemode at up to 50X normal play speed.

Automatic Alignment System maximizesthe accurate reproduction of digital data,while an automatic RF Equalizer opti-mizes the gain and phase of off-tape RFsignals.

Optional RFU-89KB RF adapter allowsplayback on virtually any television set.

Built-in self-diagnostic system advises ofmalfunctions.

Built-in RS-232 interface allows controlfrom an external PC.

DNW-A22 Betacam SX PlayerThe DNW-A22 is a simple player for viewing Betacam SX as well as ana-log Betacam SP tapes. It also offers RF output (with optional adapter) forplayback on any television set.

They deliver the exceptional video qualityof the Betacam SX format, recorded 8-bit, 4:2:2 component digital signals usingMPEG2 4:2:2Profile@Main Level com-pression technology. Also includes four16-bit, uncompressed audio channels.

They provide long playback time up to194 minutes on a single L-cassette and 62minutes on a single S-cassette.

Equipped with Sony’s Dynamic MotionControl function, they provide noiselessslow-motion playback and digital jogaudio from –1 to +2x normal speed.

Digital memory enables you to freeze anypicture and view it solid still

They can be switched from NTSC525/60 mode to PAL 625/50 mode toplay Betacam SX tapes recorded overseas.

Optional SDTI (SX) output enablestransfer of material to an A/V server at amaximum of 2 times normal speed. Willalso speed up editing time.

They are equipped with analog compositeand component video output as well asSDI output. There are analog andAES/EBU outputs for four audio chan-nels, and outputs for two-channel audiomonitoring. In addition, RS-422/RS-232control, parallel 50-pin remote control,video processor control (15-pin), andtime code output are all included.

Their remote control panel can beextended, and since they are equippedwith another connector on the rear panel,they can also be controlled from theoptional BKNW-119 Control Panel,adding greater operational flexibility.

High-speed picture search is available inshuttle mode at up to 65x normal speedin both forward and reverse directions.

They can be used as players in a Flexicartor LMS system, giving those multicassettesystems the Betacam SX advantage—longplaying times and low maintenance costs.

DNW-A65 Step-up Features: The DNW-A65 can play back analog

Betacam and Betacam SP tapes—oxide ormetal particle. This analog capability letsyou maintain the long-term value of yourexisting analog tape archives and enablesexisting Betacam SP camcorders to still beused for acquisition. Analog DT (Dynamic Tracking) playbackfrom -1 to +3x speed and playback ofAFM (Hi-Fi tracks) is also available.

Betacam SX Player/Feeders Equipped with a wide range of features, functions and interfacesincluding Freeze function, NTSC and PAL playback, 4-channelaudio, variable-speed playback, Good Shot Marker support, andoptional SDTI output, they are ideally suited for linear operationas well as for installation in Sony’s Flexicart or LibraryManagement multicassette systems. Identical in every respect, theDNW-A65 adds analog Betacam SP playback capability.


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They offer ±0 frame accurate.insert andassemble editing. This enables precise edit-ing of Betacam SX tape in machine-to-machine or A/B roll configurations.

They are equipped with analog compositeand component video I/O, componentSDI I/O and 4 channels of analog audioI/O, AES/EBU I/O, and 2 audio monitoroutputs as standard.In addition, RS-422and RS-232 control, Parallel 50-pinremote control interface, video processorcontrol interface (15-pin), and Time CodeI/O are also included. SDTI (SX) I/O isoptional.

The DNW-75 and DNW-A75 offer apowerful feature called Program PlayFunction. Program Play allows the dura-tion of of a program to extended or short-ened so that it will fit into an allocatedtime period. This enables video recordingsto be reproduced over a range of ±15%normal play speed in increments of 0.1%(some frame dropping will occur).

They are equipped with Preread editingcapability. Preread is ideal for titling, colorcorrection and layering for video, and mix-ing or sweetening for audio.

Pre-read heads are located ahead of therecord heads on the drum so they can readpreviously recorded video and audio sig-nals. The signal can then be processed byexternal equipment and recorded backonto the same track.Preread allows the edi-tor to execute a picture transition witheffects between two VCRs as well as audiomixing/audio channel swapping with frameaccuracy. Moreover, when performing overdubbing of audio, the usual delay experi-enced at an editing point is eliminated.

Betacam SX Recorders/EditorsThe DNW-75 and DNW-A75 incorporate all the features ofthe DNW-65/DNW-A65 like variable speed playback, freezefunction, 4-channel audio and Good Shot Marker support, plusthey add recording and editing capability. With frame-accuratevideo/audio insert editing, as well as Pre-read editing, they areideally suited for many aspects of linear operation such asmachine to machine editing and A/B roll editing. Identical inevery respect, the DNW-A75 adds analog Betacam SP playback capability.

DNW-A28/65/A65/75/A75 All Handle ‘Good Shot Mark’ The DNW-65/DNW-A65, DNW-75/DNW-A75, and DNW-A28 can all scan tapes at high speed and automatically detect Good ShotMarks recorded on the tape. (These marks are qualitative decisions made in the camcorder while shooting). After scanning for marks, a listof all the marks is displayed on the monitor, allowing easy cueing to any mark. In addition, they detect two additional types marks; Record Start Mark and Virtual Shot Marks. A record start mark is inserted at the begin-ning of every recording, a Virtual Shot Mark is inserted in the list by the operator to mark scenes for easy cueing at a later time. These fea-tures can dramatically speed up the edit search process.

Same features as the DNW-65/DNW-A65 PLUS—

Optional Accessories forBetacam SX Machines

Betacam SX machines come with a three year warranty on parts—including the heads!

BKNW-118SDTI (SX) Input/Output Board

BKNW-119 Control Panel

BKNW-121 Control Panel Case

BKNW-122 Control Panel Extension Kit

RMM-111 Rack Mount Kit

DNW-A75 Rear

Equipment Leasing Available

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Betacam SX Recorder/EditorThe DNW-A28 is the front loading and front access version of theDNW-A25 Digital Portable Editor. It’s front access design makes it suit-able for use in a limited 19-inch rack space such as in OB vans. Also,connecting to existing editors and monitors, the DNW-A28 can makefull use of current broadcast equipment.

Compact, Lightweight Design Half rack size (3RU high) it weighs only

12 lbs. Compact size makes it ideal forinstallation into limited rack spaces.

The DNW-A28 is a front loading andfront access VCR. A sliding key panelmechanism makes it possible to control avariety of functions, despite its size.

Editing Functions Performs assemble and video/audio insert

editing as well as time code insert. Alsoequipped with preread editing function.

4-Channel Audio Mix or swap any 2 channels of audio from

the available 4 digital audio channels or 2analog audio channels. The monitor out-put has 2 channels (L and R). Each of the2 channels can output mixed audio fromany of the 4 channels.

With the sliding key panel, the DNW-A28can have two audio controllers (large onesand small ones) in a compact design body.You can select which level you control withthe large volume controllers (record/play-back volume priority switching function).

Playback/Record Function Two DNW-A28s can be connected to pro-

vide sequential recording. This can provideendless recording by synchronizing therecording process across both DNW-A28s.

The DNW-A28 can play back analogBetacam and Betacam SP recordings madeon oxide or metal particle tape.

The DNW-A28 can easily be switchedfrom 525/60 to 625/50 modes when usedin a component digital environment.

DNW-A65/65/A75/75/A28 Specifications

DNW-A65 DNW-65 DNW-A75 DNW-75 DNW-A28GeneralPower Requirements AC 100 V to 240 V, 50/60 Hz DC 12 V, +5.0 V/-1.0 VWeight (Approx.) 28 kg (61 lb. 10 oz) 26 kg (57 lb. 5 oz) 28.5 kg (62 lb. 12 oz) 27 kg (59 lb. 8 oz) 5.5 kg (12 lb. 3 oz)Dimensions (WxHxD) 16 7/8 x 9 3/8 x 20 3/4 inches 8 3/8 x 5 1/4 x 18 inches

Tape SpeedBetacam Sx 59.515 mm/s (525 mode), 59.575 mm/s (625 mode)

Betacam/Betacam SP 118.6 mm/s – 118.6 mm/s – 118.6 mm/sDigital Playback/Recording Time Max. 194 min with BCT-194SXLA cassette 62 min with BCT-62SXAFast Forward/Rewind Time 3 min with BCT-194SXLA cassette 3 min with BCT-62SXA

Search Speed Range±50 (Betacam SX)

±50 (Betacam SX only)±50 (Betacam SX)

±50 (Betacam SX only)±24 (Betacam SX)

±35 (Betacam/Betacam SP) ±35 (Betacam/Betacam SP) ±10 (Betacam/Betacam SP)

Input/Output SignalAnalog Composite Input – BNC (x2) BNC (x1)Analog Component Input – BNC (x3, for 1 set, Y/R-Y/B-Y) –SDI Input – BNC (x2, including one active through out) BNC (x1), SMPTE 259MSDTI Input (option) – BNC (x1) –Analog Audio Input – XLR (x4), CH1/2/3/4 XLR (x2, CH1/2)Digital Audio Input (CH1/2, 3/4) – BNC (x2), AES/EBU –Analog Composite Output BNC (x3, including one character out) BNC (x2) Analog Component Output BNC (x3, for 1 set, Y/R-Y/B-Y) –SDI Output BNC (x3, including one active through out) BNC (x2), SMPTE 259MSDTI Output (option) BNC (x2), Maximum 2x Speed –Analog Audio Output XLR (x4), CH1/2/3/4 XLR (x2, CH1/2)Headphone Output Standard jack (x1), stereo

Digital Audio Output (CH1/2, 3/4) BNC (x2, CH1/2, 3/4), AES/EBU BNC (x2), AES/EBU –

Remote ControlRemote D-sub 9-pin (x2), Sony 9-pin remote interface D-sub 9-pin (x1)RS-232C D-sub 9-pin (x1), RS-232C interface –Processor Control D-sub 15-pin (x1) –Connector for Control Panel Mini D-sub 15-pin (x1) Mini D-sub 29-pin (x1) –Parallel Remote 50-pin (x1) –


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Portable Betacam SX Editing SystemsTo further realize the full benefit and potential of Betacam SX –already the optimum digital acquisition format – Sony offers a fullline of portable field editing systems. The DNW-A220 and DNW-A225 combine two portableBetacam SX VCRs together with bright 6.4-inch LCDscreens to offer field editing in small and compact packages.During editing, video is monitored via the LCD screens oneach deck, while audio is monitored via headphones or thebuilt-in speakers. Features include Betacam SX record/play-back, analog Betacam SP playback (left side only on theDNW-A220) and frame-accurate video/audio insert andassemble editing (right side only on the DNW-A220). They support the Betacam SX Good Shot Mark system, and bothare designed to provide detachable operation of each VCR, allowing use as two separate portable VCRs. The DNW-A25 is simply one side or one half of the DNW-A225. In addition to stand-alone operation, it can also beused as a feeder or a as third VCR for A/B roll with the DNW-A220 or DNW-A225

Professional Editing They deliver the superb digital image

quality of Betacam SX, recording 8-bit,4:2:2 component digital signals using theadvanced MPEG-2 compression algo-rithm.

Frame accurate assemble and insert edit-ing for video, audio and time code .

Equipped with 9-pin RS-422 interfaces,each deck can be remotely controlled.

Fast and Easy Operation Control layout is similar to Betacam SP

VCRs, for simple, and familiar operation.They also include Jog/Shuttle dials andfamiliar audio slide faders for fast andprecise control with a 'hands-on' feel.

4-Channel Audio They have the capability to mix or swap

any 2 channels of audio from the avail-able 4-digital audio channels or 2-analogaudio channels. The line output andmonitor output have 2 output channels(L and R) Each of the 2 channels canoutput mixed audio from any of the 4channels.

NTSC or PAL Playback They can easily be switched from NTSC

to PAL modes when used in a compo-nent Digital-Signal environment. In addi-tion, analog Betacam SP monitoring isavailable for both 525/60 and 625/50mode. This flexibility enables editors towork in international environments.

Compact, Lightweight Design The DNW-A225 and DNW-A220 incor-

porate two VCRs, two LCD screens andbuilt-in audio monitoring, weigh around13 kg (under 30 lb) with overall dimen-sions of 16.6 x 17.5 x 5.9”. The DNW-A25 is half in weight and width. They aresmall enough to be hand-carried and ver-satile enough to be used internationally.

The DNW-A225 and DNW-A220 caneasily be separated into two portableVCRs; each one operating as an indepen-dent stand-alone portable VCR.

Less Equipment Required They achieve a significant reduction in

the amount of field editing equipmentrequired by news crews. With brightLCD screens in a compact, modularpackage, they make it ideal for portableediting applications. During editing, pic-tures can be monitored on the LCDscreen on each deck of the DNW-A225,A220, and A25, and audio can be moni-tored via headphones or built-in speakers.The DNW-A225 and DNW-A220 func-tionally replace two VCRs, two videomonitors, and audio mixing equipment.


We Exhibit At NAB, Infocom, and Siggraph

DNW-A25 Rear


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Record/Playback Functions Noiseless slow motion playback is avail-

able over the range of -1 to +1x normalplay speed. The editors also includeDynamic Motion Control (DMC) edit-ing with Betacam SX media.

High-speed picture search is available inshuttle mode at up to 24X normal speedin forward or reverse. Betacam SP tapescan be searched at up to 10X speed.

The DNW-A25, DNW-A225 and theleft side deck of the DNW-A220 canplayback analog Betacam and BetacamSP recordings made on oxide or metalparticle tape.

Multiple Powering Options They operate on battery power by attach-

ing Sony BP-L60 or BP-L90A lithium-ion batteries via the V-shoe attachment.Lithium-ion batteries provide high capac-ity in a small and compact size! and offerapproximately 90 minutes operation timein a fully charged condition.

AC powered operation is also available byconnecting an AC-DN2A AC adaptor,which can supply power to both decks,through the V-shoe attachments and 4-pin connector.

The DNW-A225 and DNW-A220 pro-vide a sequential recording functionusing both left and right side decks. Thisallows endless recording by synchronizingthe recording process across both decks.

Specifically designed for the portable edi-tors, the AC-DN2A delivers up to 150watts of power. Equipped with a XLR 4-pin port, the AC-DN2A can also be usedto power Betacam SX camcorders.Last,the AC-DN2A can be used as a batterycharger for Lithium-ion batteries whilepowering the DNW-A25, using the V-shoe battery attachment included.

Optional AccessoriesBP-L60A/L90A Lithium-ion Batteries

AC-DN2A AC Adapter/Charger

BKNW-225 Docking Kit

BKNW-25 DV Interface Box

LC-DN220 Shipping Case

LC-DN220SFT Soft Carrying Case

Good Shot Mark HandlingOne of the most useful features is support of the Shot marks generated in the Betacam SXcamcorders.

The Editors can scan tapes and automatically detect all the Good Shot and REC Startmarks recorded on the tape. After scanning for marks, a list of all the marks is displayed onthe LCD screen, allowing easy cueing to any mark. In addition, during Play, Shuttle, Jogand Still, they can memorize additional marks, called "Virtual Shot Marks", entered by theoperators. This speeds up the edit search process dramatically. Shot Mark Operation menuis used to specify whether REC Start marks are recorded. You can write additional shotmarks at any position on the tape and delete individual marks that are no longer needed.

They also let you read shot data (cassette number, shot number, time, date, ID number,etc.) Shot data is recorded continuously on the tape during shooting. To display shot data,press the PLAY button together with the ENTRY/SHIFT button. The tape is played back,and the display shown below appears. The contents of the display changes as the shootingcondition changes (for example, the date and time or shooting device change).

GENERALPower Requirement:


Power Consumption:A225 130W (65Wx2)A220 120W (60Wx2)A25 65W

Weight:A225/A220: 28 lb. 10 oz)A25: 14 lb. 5 oz

Tape Speed: Betacam SX: 59.515 mm/s (525mode), 59.575mm/s (625 mode)Betacam/Betacam SP: 118.6 mm/s

Digital Play/Record:Max. 62 minutes with BCT-62SXA cassette

Fast Forward/Rewind Time:3 min with BCT-62SXA cassette

Search Speed Range: Betacam SX: ±24 times normalplayback speed Betacam/Betacam SP: ±10 times normal playback speed

INPUT/OUTPUTAnalog Composite In:

BNC (x1)

Analog Composite Out: BNC (x2

SDI Input: BNC (x1)

SDI Output: BNC (x2)

Analog Audio I/O (CH1,2):XLR (x2)

Analog Monitor Out (L,R):XLR (x2)

Headphones Output: Standard jack (x1), stereo

Remote Control: 9-pin (x1) remote interface

Reference Input: BNC (x1)

Test: Aux 6-pin (x1) (for maintenance)

Time Code I/O:BNC (x1)


Video/Chroma Level:±3 dB/-∞ to 3dB selectable

Set Up/Black Level: ±30 IRE/±210 mV

Y/C Delay: ±100 ns (in Betacam SP playback)

Chroma Phase: ±30°

System Phase: Sync: ±15 µs (SC step), SC: ±200ns


Active matrix 640 x 480

Size:6.4 inches

Luminance/Brightness:Adjustable by knob

Built-in Speakers:A225/A220 x2, monauralA25 x1, monaural

Display:Counter, Servo Lock, TapeRemain, Battery Remain, etc.


Connect to DV and DVCAM